J U LY/AUGUS T 2 02 0
July/August
2020 EDITOR
Tiarney Miekus E DITOR
Anna Dunnill EDITOR
Tracey Clement W EBSITE AND SOCIAL MEDIA COORDINATOR
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Cover artist: Nell
front
Nell, It’s the beginning of A new AGE, 2017, acrylic on canvas, 102.1 x 81.6 cm. courtesy of the artist and roslyn oxley9 gallery, sydney. back
Nell, I AM Passing Through, SWEET Dreams BABY...BYE-bye, 2017, earthenware, enamel paint, 63 x 44 x 45 cm overall. Photograph: Jessica Maurer. courtesy of the artist and roslyn oxley9 gallery, sydney.
Art Guide Australia is proudly published on an environmentally responsible paper using Elemental Chlorine Free (ECF) pulp, sourced from certified, well managed forests. Sumo Offset Laser is FSC Chain of Custody (CoC) mixed sources certified. Copyright © 2020 Print Ideas Pty Ltd. All rights reserved. The opinions expressed are not necessarily those of the publisher. Material may not be reproduced in any form without permission. Information in this publication was correct at the time of going to press. Whilst every care has been taken neither the publisher nor the galleries/artists accept responsibility for errors or omissions. ISSN 1443-3001 ABN 95 091 091 593.
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A note from the editor PROFI LE S
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Julia Robinson
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Abdul-Rahman Abdullah
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Bringing the Mythical Back Into Art The Already Isolated Robert Fielding
The Stories We Tell COM M ENT
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Art in the Quiet City PROFI LE S
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William Yang
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Nell
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The Absolute Intimacy of Life It’s the Beginning of a New Age Hiromi Tango
A Close Friend Called Art Teelah George
On Time and Timelessness I L L U S T R AT I O N
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Isolated Adventures in Art PROFI LE S
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Lesley Dumbrell
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Lawrence English
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Opening Doors
Can You Hear It, Too? Willoh S. Weiland
What Can’t Be Easily Expressed S TAT E - B Y- S TAT E E X H I B I T I O N S
Victoria New South Wales Queensland Australian Capital Territory Tasmania South Australia Western Australia Northern Territory Maps
WARWICK WARWICK THORNTON THORNTON WARWICK NIRIN: Sydney NIRIN:22nd 22nd Biennale NIRIN: 22nd Biennale of of Sydney
Meth Kelly, 2020. Video still. MethKelly, Kelly,2020. 2020.Video Videostill. still. Meth
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9/6/20 13:48 9/6/20 13:48 9/6/20 13:48
Frances Barrett, Meatus 2020. Courtesy the artist. Ear worms: Debris Facility. Photograph: Charles Dennington
Frances Barrett: Meatus Opens Saturday 15 August 2020
A project led by Frances Barrett with Nina Buchanan, Hayley Forward, Brian Fuata, Del Lumanta and Sione Teumohenga Suspended Moment: The Katthy Cavaliere Fellowship Project Partners:
Exhibition Partners:
Lead Partner:
Government Partners:
Presenting Partner:
v
acca.melbourne
Australian Centre for Contemporary Art 111 Sturt Street Southbank VIC 3006 Melbourne Australia acca.melbourne Exhibition Donor:
Bruce Parncutt AO
Media Partner:
Patricia Piccinini Roslyn Oxley9 Gallery
Holiday Package, 2020 (detail), powder pigments in resin, epoxyglass, on Perspex, 150 x 100 cm
August– September 2020
Sapling, 2020 (detail) silicone, fibreglass, hair, clothing 201 x 94 x 46 cm edition of 3 + 1 AP
roslynoxley9.com.au
OPENING 24 JULY THE IAN POTTER CENTRE: NGV AUSTRALIA, FED SQUARE FREE ENTRY
FESTIVAL PARTNER
Destiny Deacon Kuku/Erub/Mer born 1957 Being there 1998 (detail). National Gallery of Victoria, Melbourne. Purchased, Victorian Foundation for Living Australian Artists, 2016. © Destiny Deacon, courtesy Roslyn Oxley9 Gallery, Sydney
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22ND 22NDBIENNALE BIENNALE OF OFSYDNEY SYDNEY
JUNE JUNE––SEPTEMBER SEPTEMBER2020 2020 biennaleofsydney.art
FREE EXHIBITION ENTRY #NIRIN2020 PLAN YOUR TRIP AT BIENNALEOFSYDNEY.ART MAJOR GOVERNMENT PARTNERS
PRINCIPAL PATRON
Image: Barbara McGrady (with John Janson-Moore), Ngiyaningy Maran Yaliwaunga Ngaara-li (Our Ancestors Are Always Watching), 2020. Installation view for the 22nd Biennale of Sydney (2020), Campbelltown Arts Centre. Commissioned by the Biennale of Sydney with generous support from the Australia Council for the Arts. Courtesy the artist. Photograph: Zan Wimberley.
AUSTRALIA’S PREMIER INDIGENOUS ART FAIR
The Cultural Evolution
14 – 23 August 2O2O We’re going digital. 2O2O.ciaf.com.au
Naomi Hobson, Grasshood Wonderland This project is supported by the Queensland Government through Arts Queensland’s Backing Indigenous Arts initiative, which aims to build a stronger, more sustainable and ethical Aboriginal and Torres Strait Islander arts industry in the State.
Supported through the Australian Government’s Indigenous Visual Arts Industry Support Programme.
Cairns Indigenous Art Fair Limited is assisted by the Australian Government through the Australia Council, It’s arts funding and advisory body.
2020.ciaf.com.au
JOHN MAWURNDJUL I AM THE OLD AND THE NEW
10 July – 13 September 2020 Tweed Regional Gallery & Margaret Olley Art Centre Free Entry
Experience the work of one of Australia’s leading contemporary artists — master bark painter John Mawurndjul — as he shares the concepts that shape Kuninjku culture in Western Arnhem Land.
John Mawurndjul, Ancestral Spirit Beings Collecting Honey, 1985–87 Museum of Contemporary Art Australia and Maningrida Arts & Culture with financial assistance from the Aboriginal and Torres Strait Islander Board of the Australia Council, 1994 © John Mawurndjul / Copyright Agency, 2020, photograph: Jessica Maurer.
This project has been assisted by the Australian Government’s Visions of Australia program. Exhibition organised and toured by the Museum of Contemporary Art Australia.
2 Mistral Road Murwillumbah South NSW 2484 P: 02 6670 2790 W: artgallery.tweed.nsw.gov.au The Tweed Regional Gallery & Margaret Olley Art Centre is a Tweed Shire Council Community Facility
artgallery.tweed.nsw.gov.au
Tweed Regional Gallery & Margaret Olley Art Centre is supported by the NSW Government through Create NSW.
MERRICK BELYEA Even in Arcadia, There Am I 12 September – 10 October 2020
Merrick Belyea, View to Woodman Point, 2019, oil on board, 122 x 183cm
Representing Western Australia’s leading artists EXHIBITIONS // BOOKS // TALKS // ART FAIRS 2/565 Hay Street, Cathedral Square, Perth +61 8 9325 7237 art@artcollectivewa.com.au www.artcollectivewa.com.au
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Until 27 June 2021 Take a virtual tour at www.wrgallery.qut.edu.au
William ROBINSON, Birkdale farmyard 1 1985 (detail), oil on canvas. QUT Art Collection. Purchased 2019.
wrgallery.qut.edu.au
Your next adventure awaits with
QVMAG Uncover the secrets of the QVMAG collection through a new range of guided tours. Learn the tales of years past and experience the Art Gallery like never before.
www.qvmag.tas.gov.au/tours
qvmag.tas.gov.au/tours
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Assembly Now by Sally Golding BrisFest @ Metro Arts 3 - 27 Sept
Metro Arts @ West Village Our new home
OPENING SEPT 2020 Art Starts Here
Brainbow Magic by Hiromi Tango BrisFest @ Metro Arts 3 - 27 Sept metroarts.com.au
Celebrating Diversity through Creativity 9 JULY - 15 AUGUST Artists: Dr Dacchi Dang, Elham Eshraghian, Humaira Fayazi, Mastaneh Azarnia, Mirela Cufurovic, Saidin Salkic The HOME Exhibition is a national art program curated by the City of Greater Dandenong, featuring six artists from a refugee or asylum seeker background. HOME is a raw and compelling art exhibition, providing insights into the personal journeys of the artists, celebrating the enormous contribution that they make to our community. Artists explore the concept of home in this thought provoking exhibition. HOME is an opportunity for artists to, as Elham Eshraghian writes, “unveil their story that should never be silenced�. The HOME Exhibition presents programs online including a virtual exhibition, online workshops and events, and an accompanying ebook.
greaterdandenong.com/home | 8571 1000
HOME 2020 is proudly supported by IKEA Springvale
Humaira Fayazi, Being Strong Despite Pressure, clay.
greaterdandenong.com/home
5m
CITY OF DEVONPORT
4m
TASMANIAN ART AWARD CALL FOR ENTRIES 3m
MAJOR ACQUISITIVE AWARD $15,000 PEOPLE’S CHOICE AWARD $1,000 ENTRIES CLOSE: 16 September 2020 EXHIBITION DATES: 5 December 2020 – 31 January 2021
2m
To enter: Go to www.paranapleartscentre.com.au/events/tidal-20/ Contact: artgallery@devonport.tas.gov.au
1m 4 am
3 am
2 am
1 am
12 am
11 pm
10 pm
9 pm
8 pm
7 pm
low tide
5 pm
4 pm
3 pm
2 pm
1 pm
high tide
11 am
10 am
paranapleartscentre.com.au/events/tidal-20
1 Irene Street, Redcliffe Qld 4020 • (07) 5433 3811 moretonbay.qld.gov.au/redcliffe-art-gallery
moretonbay.qld.gov.au/redcliffe-art-gallery
CELEBRATE AUSTRALIAN WOMEN ARTISTS OPENS 13TH NOVEMBER, 2020
NGA.GOV.AU/KNOWMYNAME nga.gov.au
SENSE THE MUSIC Ruth Medjber | Maclay Heriot Until 15.08.2020
ACP Project Space Gallery
21 Foley St, Darlinghurst, NSW, 2010 Corner of Foley and Crown Street acp.org.au Image: Ruth Medjber, Régine Chassagne, Arcade Fire, 2019. Courtesy and © of the Artist. acp.org.au
darrenknightgallery.com
Fifty years of collecting international art at the Art Gallery of New South Wales Until 13 September Free entry
Some Mysterious Process
Presenting partner
Doug Aitken Ghada Amer Kamrooz Aram Louise Bourgeois Lubna Chowdhary Tracey Emin Gilbert & George Philip Guston David Hockney Shirazeh Houshiary Anish Kapoor Yves Klein Sol LeWitt Tala Madani I Nyoman Masriadi Kazuko Miyamoto Bridget Riley Edward Ruscha Doris Salcedo Dana Schutz Yinka Shonibare Shahzia Sikander Cy Twombly Stanley Whitney Zhang Xiaogang and more
Dana Schutz Breastfeeding 2015. Art Gallery of New South Wales, purchased with funds provided by the 2015 USA Foundation Tour and the Mollie and Jim Gowing Bequest Fund Š Dana Schutz
artgallery.nsw.gov.au
Issue 126 Contributors is a writer of Ballardong Noongar heritage who is influenced by studying and working in the field of urban planning. Her writing has appeared in a range of anthologies and literary journals. A NDY BUTLER is a writer, curator and artist based in Naarm (Melbourne). He is on the board of SEVENTH Gallery and a co-director of Mailbox Art Space. His writing on art and politics in Australia has been widely published. SOPHI A CA I is a Melbourne-based curator, arts writer, public programmer and greyhound enthusiast. She is particularly interested in Asian art history, the intersection between contemporary art and craft, as well as feminist methodologies and community-based practices. TR ACEY CLEMENT is an artist, freelance writer and editor at Art Guide Australia. She has a PhD in contemporary art, as well as a diploma in jewellery design, an undergraduate degree in art history-theory and a master’s degree in sculpture. In 2020 she will have a solo show at the Casula Powerhouse Arts Centre as part of winning the 2018 Blake Prize Established Artist Residency. Tracey has been a regular contributor to Art Guide Australia for more than a dozen years. OSLO DAV IS is an illustrator, cartoonist and artist who has drawn for The New York Times, The Age, The Monthly, Meanjin, SBS and The Guardian, as well as the National Gallery of Victoria, Golden Plains and the State Library Victoria, among many others. Oslo’s latest book is Overheard – The Art of Eavesdropping. STEV E DOW is a Melbourne-born, Sydneybased arts writer, whose profiles, essays, previews and reviews range across the visual arts, theatre, film and television for The Saturday Paper, Guardian Australia, The Monthly, The Sydney Morning Herald, The Age, Sunday Life, Limelight and Vault. TIMM A H BA LL
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BR ION Y DOW NES is an arts writer based in
Hobart. She has worked in the arts industry for over 20 years as a writer, actor, gallery assistant, art theory tutor and fine art framer. Most recently, she spent time studying art history through Oxford University. A NNA DUNNILL is an editor at Art Guide Australia, an artist and a writer based in Naarm (Melbourne). She works with textiles, ceramics and tattoo. Anna is also one half of collaborative duo Snapcat. TI A R NEY MIEKUS is an editor at Art Guide Australia and a Melbourne-based writer whose work has also appeared in The Age, The Australian, un Magazine, Meanjin, RealTime, Overland and The Lifted Brow (Online). She is the producer of the Art Guide Australia podcast. OSCA R NIMMO is an artist currently working in Sydney, Australia. He works out of a little studio next to a pub in Chippendale where he makes drawings, animations and ceramics. ZA R A SIGGLEKOW is a Melbourne-based arts writer, curator and administrator. BA R NA BY SMITH is a critic, poet and musician currently living on Bundjalung country. His art criticism has appeared in Art & Australia, Runway, The Quietus and Running Dog, among others. He won the 2018 Scarlett Award from Lorne Sculpture Biennale. A NDR EW STEPHENS is an independent visual arts writer based in Melbourne. He has worked as a journalist, editor and curator, and has degrees in fine art and art history. He is currently the editor of Imprint magazine.
A note from the editor When we began work on this issue—a moment in time when most of the community was living in lockdown—there was no understanding of when life would return to any semblance of normality, and no clear timeline of when we might once again visit an art gallery. As we’re committed to supporting the arts in Australia, capturing stories that reflect and provide insight on upcoming exhibitions and events, we decided this issue should go to the very centre of creating: artists. We asked ten writers to profile ten artists across the country, chronicling a range of artistic lives and practices, from Robert Fielding’s life on the APY Lands to Hiromi Tango’s lush gardening abode. In taking a more personal approach, it made sense to evoke something of the inner personality of the artists’ lives—so we asked each of the ten artists to capture, on their smartphone, details of their life and art under isolation. The result, as you’ll see, is a series of quietly profound and very intimate images. In the following pages, you’ll gain an insight into ten very different artists as they live and create right now. You’ll hear about their practices, but also about their families, where and how they’re working, and what ideas or tangents they’re currently following. As museums and galleries begin to reopen and life starts to look familiar again, we hope you enjoy reading and viewing this issue as much as we’ve enjoyed putting it together. Tiarney Miekus, Editor and the Art Guide team
“We asked ten writers to profile ten artists across the country, chronicling a range of artistic lives and practices...”
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Bringing the Mythical Back Into Art
W R ITER
Anna Dunnill
Through mythology and folklore, Julia Robinson’s sculptures reflect and question our history and present.
Julia Robinson is describing her favourite folk tradition: the Burryman. “It’s a guy dressed from head to toe in a stocking suit onto which thousands of burrs are stuck,” she explains. In an annual ceremony dating back hundreds of years, this alarming figure covered in 11,000 burrs is led on foot around the Scottish town of South Queensferry for seven hours, visiting every pub and drinking whiskey through a straw. The reasons for the tradition are lost, but it’s thought to bring good luck to the town, with bad luck sticking to the burrs. “It’s a real honour to be the Burryman, you have to earn it.” A self-described folklore enthusiast, Robinson regales me with her other favourite traditions. One relates to the Dorset Ooser, a larger-than-life wooden head complete with horns, beard and staring eyes, plus a hinged jaw that can open and close. Another is the Mari Lwd from Wales, a figure with a horse skull for a head. Then there is the Jack in the Green, an English tradition involving a person inside a ten-foot-high tent covered in leaves. Her interest in these regionally specific anachronisms links back to her own British heritage and weaves through her art practice. “The ones I’m most interested in are the rituals and community gatherings that celebrate the turning of the seasons and a connection to nature,” she says. “Asking for prosperity in the year ahead, or trying to ensure a safe and happy summer, a good harvest, that sort of thing.” Echoing many of these folkloric traditions, Robinson’s work often deals with seasonal cycles, alongside birth, sex and death. She has a regular,
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near-daily studio routine and observes that “routines can so easily become rituals when they start to feel imperative or you find yourself making the same moves each time.” One recently rediscovered joy is a love of folk dancing, which lay dormant for years after her childhood dance group petered out. “It was like a lightning bolt,” she says of starting to dance again in late 2019. “I was just like, ‘Where have you been for the last 20 years?’” She hasn’t missed a week since. “It’s weird, because this is the only time in my life that I’d stand in a room and hold hands with a bunch of adults,” she laughs. “But it’s so powerful, everyone moving in unison, I just love it—it’s an absolute passion now, and it feels like an extension of my practice as well.” When I speak to Robinson over video chat, it’s in the midst of lockdown restrictions. Any semblance of normal routine has dissolved, and we are both working from home offices; Robinson is accompanied by her cat Chewbacca. “I’m normally in the studio between five to seven days a week, and it’s gone to zero,” she laments. While her studio is still theoretically accessible, her teaching work has temporarily ballooned as universities scramble to put courses online. “At the moment I feel the furthest from being an artist I’ve ever been.” While—joyously—the dance group has been able to continue rehearsing via video conference, it’s clear that for Robinson the isolation of the studio is the focal point of her practice, even perhaps her sense of self. “It’s absolutely my favourite place to be,” she says, glowing. “It’s the place where I feel the most happy,
A RTIST
Julia Robinson
LOCATION
Adelaide
Captured by Julia Robinson herself, these images reflect her life, practice and home under isolation.
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Julia Robinson, Beatrice, 2019-2020, silk, thread, felt, steel, brass, gold-plated copper, foam, cardboard, pins, fixings, overall installation approx. 300 x 400 x 300 cm. Photograph: Sam Roberts. Courtesy the artist and Hugo Michell Gallery. Julia Robinson is represented by Hugo Michell Gallery, Adelaide.
comfortable, autonomous, on top of things.” She has inhabited the same open-plan warehouse space for 11 years, and is evidently aching to get back to it. Robinson is fresh from completing a major new work for the 2020 Adelaide Biennial, Monster Theatres. Her site-responsive installation, Beatrice, is housed in the Museum of Economic Botany—a fascinating space in Adelaide’s Botanic Garden that catalogues the use and trade of plant-based artefacts, everything from spices to dyestuffs to broom bristles. Beatrice is a merging of two tales of confined, ‘toxic’ women. One is Robinson’s “favourite monster of all time” named Scylla, the nymph-turned-seamonster of Greek myth, who lives in a cave and is often depicted with tentacles or multiple heads, a litter of unborn puppies in her womb. The other, the work’s namesake, is from an 1848 story by Nathaniel Hawthorne titled Rappaccini’s Daughter: Beatrice is a young woman who, raised by her scientist father in a garden of poisonous flowers, is poisonous to others in turn. Trapped in the garden, Beatrice tends to the purple blooms of a plant that she treats as her sister.
Robinson’s tentacled, writhing sculpture is installed in a semi-enclosed space inside the museum. Like its monstrous subjects, it was subject to containment during COVID-19 restrictions, but has now been revealed anew. The work’s purple fabric surface is textured with slits and smocking, techniques drawn from lush Elizabethan clothing that speak to the opening up of interiors and “the excess of nature”. Robinson’s interest in costume permeates her practice, and she takes great joy in the laborious making processes. “It’s sublime, it’s just perfect,” she says of being immersed in a project. “It’s like a hunger that I have when I’m in the middle of a body of work, even on bad days when things aren’t going right—I wake up in the morning and all I can think of is, I want to go to the studio. And normally what sends me home in the evening is literal hunger. I get studio hunger in the morning and food hunger in the evening.” ◎
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The Already Isolated
W R ITER
Andy Butler
Living on a cattle farm south of Perth, Abdul-Rahman Abdullah explores family, history and memory.
“I feel like we’ve got a handle on this, but that’s just luck and geography,” Abdul-Rahman Abdullah tells me in an early morning interview. Along with his wife, artist Anna Louise Richardson, and their two daughters, he’s based on a cattle farm south of Perth in Western Australia. Isolation is something they’re used to. At a time of physical distancing, of thinking about keeping at least a metre and a half away from others, Abdullah talks about distance on the farm in terms of kilometres. The property has a two kilometre driveway, the nearest neighbour is four kilometres away. In his studio, if you look out through a gap in the tree line, you can see for kilometres. COVID-19 has rolled into a series of huge life events for the Abdullah-Richardsons. They were hit hard by the fire season. No one was hurt and no buildings were lost, but they lost half the farm. Just before the fires, there was the birth of their second baby daughter, and just before the pandemic, the passing of a family matriarch. “It’s been back, to back, to back for us,” recounts Abdullah. “Because COVID-19 isn’t a direct in-your-face thing for us on the farm, it just felt like another event I guess.” Family and memory are central to Abdullah’s art. His sculptural practice often uses animal forms as bearers of meaning, narratives and feeling to negotiate the complex layers of personal histories. The histories he refers to are related to his family around him. He’s interested in the ways that memories can become a kind of mythology—where they exist in a space that isn’t wholly fact or wholly fiction. “Once experience passes into memory, it’s not
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just reality or fact. It’s more than that—memories become entangled with your inner dialogue, the way you feel, the way you sense the world around you. I love the idea of making something that other people can experience—to get inside a memory.” This urge towards storytelling is significant and complex for Abdullah, especially within Australia’s cultural imagination. His upbringing and history is one experienced on the periphery—he grew up as a brown Muslim kid in the suburbs of Perth. His work imbues this history with a sense of poetic resonance and depth, giving stories that are usually relegated to the margins a sense of gravity and weight. Many readers may be familiar with his work Pretty Beach, commissioned for The National 2019 at the Museum of Contemporary Art, Sydney. A highlight of the exhibition, Pretty Beach was a large-scale sculptural installation of a fever of stingrays, swimming under a blanket of rain made from crystals. It’s a rumination on his Grandpa Cliffy, who died by suicide in 2009. “Grandpa Cliffy lived in a fibro shack on the water,” recalls Abdullah. “There was a jetty where you could see rain come in like a curtain, you can literally see the edge of it coming. I could see stingrays swimming clear beneath me and they disappeared under the rippling surface as the rain came in, they were taken away from my view but their existence just continued on unchanged.” Animals are a constant in Abdullah’s work—cats, dogs, crows, camels, pigeons, roosters. They’re the basis of his whole visual language, and become
A RTIST
Abdul-Rahman Abdullah
LOCATION
Perth
Already living in semi-isolation on his cattle farm, Abdul-Rahman Abdullah takes smartphone snaps of family, life and creating.
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Abdul-Rahman Abdullah, Little Ghost, 2019, hand-carved and painted wood, 125 x 78 x 52 cm. Courtesy of the artist and Moore Contemporary. abdul-r ahman abdullah is represented by moore contempor ary, perth.
cyphers for human relationships and narratives. They take on different meanings, and are imminently accessible to an audience. “Everyone carries their own mythologies, associations—something beyond this straight objective experience of the world,” explains the artist. “I use animals because they’re so familiar. People project themselves all over it.” During the shutdown, Abdullah has been working towards a major group exhibition that’s been postponed: titled I’m a heart beating in the world, the exhibition is set to eventually show at 4A Centre for Contemporary Asian Art, and will later feed into an international project staged during the Venice Biennale in 2022. He’s working in reverse for that exhibition, he tells me: working from an image of a mythical winged horse in Islamic culture, he’s been thinking about impossible journeys, especially in relation to his own
mother’s arrival here from Malaysia in 1971. Further into 2020, he’ll be delivering a project with his brother, Abdul Abdullah. Yet at this moment, it’s life on the farm: Abdullah and Richardson alternate half a day parenting and half a day in the studio, and spend the evenings together. “We cheer each other on, and really work as a unit,” he says. They both have a keen understanding of the joys, trials, strange obsessions and hard grit involved with being an artist. The reciprocal support has been vital. This period has brought positives and negatives. Under isolation there’s been less assistance with childcare, so parenting has increased. At the same time, having extra moments to spend with his kids at such a special time is a boon. “We’re providing their whole lives for them,” Abdullah says. “But you never stop picking up toys or cleaning bums.” ◎
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The Stories We Tell
W R ITER
Andrew Stephens
Working from the APY Lands, Robert Fielding blends Indigenous tradition and culture with innovative forms.
As one of the main Indigenous centres in north-western South Australia, Mimili Community has between 250 and 300 inhabitants at any one time. Usually, there are many people coming and going, but this has quietened with the onset of COVID-19, a disease that is especially dangerous for Indigenous communities, where health can be very fragile. For artist Robert Fielding, restrictions have not only interrupted travelling interstate for exhibitions and arts work, but also his direct contact with Elders. Fielding has spent the past 23 years based at Mimili Community, located in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands, so he knows the place and its people very well. Yet confinement, while difficult, has also been an opportunity to deepen his understanding of the relationship between his own work and that of Elders—and to let others know about the inestimable value of the Elders, their stories and understandings. These stories resonate: Fielding’s artwork is held in major institutions and collections in Australia and overseas, and has garnered numerous awards, from the Work on Paper category at the National Aboriginal and Torres Strait Islander Awards in 2015 and 2017, to the 2015 Desart Art Worker Prize. Not to mention his solo exhibitions in Adelaide and Melbourne, and a 2018 show at the Fondation Opale in Switzerland. Fielding’s work is steeped in sharing local heritage, cultural experience and the stories being passed down. His most recent exhibition was at Linden New Art in Melbourne and its title, Routes/ Roots, expresses his inclusive approach. In that show, the tracing of his family roots was combined with a visit to the archives at the South Australian Museum
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in Adelaide, where he encountered many unattributed objects that had been taken from Mimili (formerly Everard Park Station). These ceremonial objects, plus photographs and images that were traded, taken or ‘collected’, are just some of many that have been “stacked in archival cabinets in the museums” of our cities. Fielding’s project is to make them an active part of culture, to bring them alive, make sense of them, and continue the story. As we speak via video link, “to bring them alive” is an expression he repeatedly uses. “Then like a whirlywind, a kupi-kupi, everything changed in the blink of an eye,” he says of the February opening of Routes/Roots. “It was sad. Me as an artist: I put all my passion, my soul, my flesh into this exhibition, but it didn’t have the chance for people to feel and observe my work in the flesh.” Fielding says his work is deeply connected to the Elders, who hold on to the knowledge of the land. At Mimili Maku Arts, the cultural centre of town, he listens to the artists tell their stories. “Their work is my work and we make it into a collaboration of old and new,” he says. “My story is always about telling the story of somebody else. But since our Elders are getting older… you only have this short, limited amount of time to showcase the beauty of what they have.” With the Elders, he says, discovering their many stories and understandings means being patient. “You can’t just go in and invade. You have to wait until they are ready to share that knowledge. It is about sharing and waiting and ngapartji-ngapartji, which is ‘fifty-fifty’. We have so many people of importance and value throughout our lands and if COVID-19 comes in, how much history, story, song, and dance will be lost?”
A RTIST
Robert Fielding
LOCATION
Mimili, APY Lands, SA
With poetic precision, the following images are captured by Robert Fielding, showing us life and art in the APY Lands.
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“Me as an artist: I put all my passion, my soul, my flesh into this exhibition…” — ROBERT FIELDING
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Robert Fielding, Manta Miil-Miilpa, 2018, pigment print on cotton rag paper with pierced/burnt alterations, 150 x 120 cm. Courtesy of the artist, Mimili Maku Arts and Blackartprojects. robert fielding pr actices from mimili maku arts, mimili, south austr alia.
Fielding has a rich heritage, with Pakistani, Afghan, Western Arrente and Yankunytjatjara strands. These filter into his art, work and life. Have a wander through his house where, he reveals, he has no official studio space. “I have a space at home that goes all the way through the house,” he says. “You’ll see paint splattered everywhere; you’ll see staples nailed into the walls. I just work where I work.” He has nine children, and now grandchildren, and they all bring their extraordinary range of cultural influences into their lives with pride and confidence: not only do they have their father’s many influences, but their mother is from the Solomon Islands, with links to Papua New Guinea. “Our children inherit all these different sto-
ries,” he says. “[They] are very blessed and successful in who they are.” Fielding’s father was part of the stolen generation, growing up in Colebrook Home in South Australia without connections to his family on the APY Lands. Fielding grew up in Quorn but since moving back to Mimili, he has been reclaiming the heritage that was not part of his father’s upbringing. On his mother’s side, the Afghan and Pakistani influences meant he absorbed Aranda and Muslim practices. “So, I come from a very powerful bloodline,” he says. He was 29 when he moved to Mimili, and is now 51. “Now I am a Tjilpi!” he laughs, using the Pitjantjatjara word for Elder. ◎
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COMMENT
Art in the Quiet City
W R ITER
Timmah Ball
As the closure of cities pushes art online, have we really learnt anything new?
In mid-March I rode through an unusually sparse Melbourne CBD to an office in flux, unaware that this would be the last conventional workday for some time. Images of lengthy Centrelink queues circulated quickly as venues shut and friends discussed the emerging lockdown with confusion. We weren’t sure whether it was happening or something we were watching: too familiar with the apocalyptic fiction we had read, too unfamiliar with what we were actually experiencing. Predictions of an austere future arose quickly, particularly from artists heavily impacted by the diminished city. Arts workers and communities that had once transformed buildings into spaces of generosity, by destabilising colonial architecture, now watched these same empty infrastructures from televisions, once again witnessing their reduction to something cold and authoritative. It was as if their emptiness revealed the rigidness of westernisation that creatives were beginning to soften. I soon fell into nostalgia, aware that the memories I drew from to write or escape felt vague and implausible. I was temporarily adjusting to a smaller life in a geographically contained environment, wondering whether this might limit the creation of new memories, living in a small apartment in the south-eastern suburbs with my mother. As the addictive speed of cities subsided and an altered reality emerged, it was also possible to feel some respite in the unexpected quiet. Yet I was equally aware of how the immense privileges that came with the silence were not equally dispersed to workers who continued to cross cities on public transport, performing essential roles that were often invisible but enabled others to function. As I grieved for the creative future I had imagined—conscious of this entitlement—I watched arts organisations and programs move quickly into online spaces, not expecting or even hoping that this could replicate place-based work. Rather, it became indicative of creative communities’ determination and integrity to continue even as government funding splintered into inadequate rescue packages. At times, these new online experiences with writers and artists soothed the detachment of physical distancing. Alison Whittaker’s Sydney Writers Festival address and Ellen van Neerven’s intimate
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conversation with Maxine Beneba Clarke, discussing van Neerven’s new poetry collection Throat, brought important ideas into our living rooms, reaffirming the ability of culture to open viewpoints, which would otherwise remain underrepresented—if heard at all. Yet moving online also presents challenges for listeners and artists. The loss of live events began pushing organisations into virtual landscapes and left little time to scrutinise the challenges that these digital spaces presented. And, most ironically, there was the expectation that online work could be created for free or at reduced rates, without considering that in most circumstances it was more demanding than ever to deliver. For many arts workers, ill-considered in government packages such as the JobKeeper payment, online content offered some continuity in the stilted spatial geographies we were adjusting to. If some of our incomes had disappeared, we could adapt and maintain a voice. And if this was not remunerated, it wasn’t too dissimilar to the issues of unpaid labor common before. While artists and writers, particularly from First Nations and POC communities, collectivised virtually to support wider social needs, in a time of upheaval the swift transition from ‘irl’ to ‘online’ occasionally felt premature. This isn’t to question the artists’ strength and adaptability, but rather the speed of production that seemed unconsciously wrapped in the logic of capitalism, rarely allowing for quiet moments. In the attention economy, even under COVID-19, self-worth was linked to public outcomes and images of success. The possibility to pause felt unlikely in the relentless glare of social media. While online content increased, some artists were starting to confront the moral ambiguity that digitised environments opened up. In the article Sacred Data, published by the National Association for the Visual Arts (NAVA), Jazz Money—a poet, filmmaker and digital producer of Wiradjuri heritage—highlighted that “as the world moves to digital solutions in a physically distant time, and many industries become new online creators, the issues of data sovereignty are becoming increasingly apparent. Our data has become our most valuable commodity, and protecting it is complex and imperative.” Money articulated the uneasiness I often felt in digitised spaces, which
Illustration by Oscar Nimmo.
on some levels dislocates viewers from land, place and the consequences of colonisation, while also raising significant questions of how we assert cultural sovereignty and address appropriation in these contexts. As our physical lives had already felt predicated on apps and social media long before lockdown, the delivery of digital content seemed organic. But as digital practice normalised, it was important that artists were questioning this too. In my own practice, a commission I received from Liquid Architecture, centring on the Lincoln Mills Chimney in Coburg, was postponed rather than moved online. Responding to the labour struggles embedded in the former factory built on unceded land, in a suburb where similar buildings were gentrified for cultural purposes by the white middle-class, was spatially unsettling and seemed impossible to interrogate online. Delaying an outcome provided time to think deeper about labour inequalities and colonisation, which were exasperated through the geography of the pandemic. It also offered a minor anti-capitalistic message, even if our choice to stop the project came from a position of enormous privilege. As our cities started reopening, an uneasy feeling followed. I wasn’t sure if the silence had lasted long
enough; we had barely started to imagine a different future as the capitalist impulse of the city returned. Did we learn anything in temporary isolation? Would any desire for change endure as we moved back to ‘normal’? The temporary shutdown may have left an economically lean arts industry further emaciated, but there has never been a more important time to think about ways of working and creating beyond the framework of capitalism. Artists have always critiqued social norms and injustices, negotiating this risk with little pay—but alliances with broader labor struggles are also needed. As communist philosopher Franco “Bifo” Berardi proclaims in his book The Uprising: On Poetry and Finance, “During the last few years disruptions have multiplied in the planetary landscape, but they have not produced a change in the dominant paradigm, a conscious movement of self-organisation, or a revolutionary upheaval.” A ‘revolutionary upheaval’ may feel closer than before, but it could quickly slip from view as the status quo resurfaces. If lockdown momentarily offered an alternative to ‘normal’, then maybe the postCOVID-19 city could help us imagine new ways of living and creating beyond the norms of production. ◎
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The Absolute Intimacy of Life
W R ITER
Steve Dow
For over four decades William Yang has photographed moments of love and death, crisis and identity.
It was 1979. Photographer William Yang made eye contact with the young, curly-headed man. The music was loud, so Yang leant over to shout his opening line as a prelude to buying him a drink, but the young man shook his head, and wrote three letters on his own palm: J. O. E. Joe was deaf. The country town labourer had come to the city, Yang learned. They went home together. There was little need to talk. The young man proved shy in bed, but Yang liked him. The next morning, Yang photographed Joe sleeping. Later, he wrote the story of their encounter on the image in black ink, across Joe’s back, in a pictograph narrative style that he made his own across his artistic career. Now, more than 40 years later, during the COVID-19 lockdown, Yang is revisiting the story of Joe, the man he put into a taxi the next morning and farewelled. At an appropriate social distance from his teacher, he has been learning Auslan, the sign language of the Australian deaf community, in preparation for making a video in which he will tell the story of encountering Joe with spoken words and signing, to be shown as part of a large retrospective of his work at QAGOMA in Queensland, likely to be held in March 2021. Yang’s long career has included not only his photography, but ten live performance pieces, including Sadness, Friends of Dorothy, Blood Links and My Generation, all four of which have been made into documentaries. Currently screening on streaming service Kanopy, these four documentaries vividly
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showcase Yang’s commitment to capturing the queer social scene, the Sydney Mardi Gras, the AIDS crisis, his Chinese-Australian forebears and his childhood growing up in Queensland. In a 2016 monograph on the photographer, William Yang: Stories of Love and Death, authors Edward Scheer and Helena Grehan comment on Yang’s “calm and neutral” presentation style in these performance pieces: “Through his own stillness he makes room for others to move and be moved.” But Yang is learning that Auslan requires him to be less of a deadpan performer relying just on voice and story. “When you’re signing, you’ve got to be expressive, because that’s the main communication,” he muses now. “It’s all exaggerated. I’m finding that exciting, because it is a new type of performance.” During this epoch, Yang has mostly taken a break from photography—before the coronavirus pandemic, he was typically photographing guests in theatre lobbies and art exhibitions three nights a week. But turning 77 this year, he’d been considering scaling back his social rounds anyway, to conserve energy. He’s still fit, bicycling around paths near his apartment in Wolli Creek, in Sydney’s inner south-west, and has been socialising on Zoom conferences. As achingly conveyed in his documentaries and performance pieces, Yang lost lovers and friends to the AIDS pandemic. The potential impact of COVID-19 in Australia also crossed his mind. “It’s different from AIDS, which was much worse,” he says, “because there was a lot of stigma attached to AIDS. If you were gay,
A RTIST
William Yang
LOCATION
Sydney
With photography as his central practice, in the following images William Yang documents small details of life under isolation.
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William Yang, Ben Law, Arncliffe, 2016. william yang is represented by art atrium, sydney and andrew baker art dealer, brisbane.
then you were vilified. If you were gay and had AIDS, then you were a total pariah. “At that stage, AIDS was a death sentence. This pandemic [COVID-19] is not as difficult to negotiate. It’s still scary, and there’s restrictions. But AIDS was really fearful, and you were subjected to judgement and hate. Since COVID-19 is across the board, there is a sense of solidarity amongst everyone, whereas that certainly wasn’t the case with AIDS.” In the upcoming retrospective, for the first time, Yang will publicly tell the story of his long-distance relationship with his boyfriend of 23 years, Scott, who lives on the Sunshine Coast. Ten years ago, for a Valentine’s Day newspaper story, Yang told me he was married to his work and found romance overrated, but that Scott had caught
his attention when they met through one of the photographer’s performances. “He’s tall, with a beard, with nice eyes and sensitive eyebrows; well-shaped rather than thick. He has a soft masculinity. He’s also got a trait essential for people I have a relationship with: he can read a book, so he can be in the same room as me and not demand attention.” Yang is an adherent of Daoism. Has spirituality been important to him in these strange times? “Only in that it’s part of my philosophy,” he says now. “I’ve tried not to be swept away with the panic of it all. If we think about Daoism, I just try to apply it to my daily life: I suppose it’s being mindful of everything. I’m kind of dedicated to my work, and I pour my energy into that, to make it the best I can.” ◎
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It’s the Beginning of a New Age
W R ITER
Tiarney Miekus
Lightning bolts, smiley faces, Buddhism and rock’n’roll: Nell draws on a catalogue of symbols to conjure the moments where language fails.
One of Nell’s paintings, delivered in black, gold and white, declares, “It’s the beginning of a new age.” Originally found in the Velvet Underground song New Age, the lyric comes at the tune’s finale, and it doesn’t quite know which way it’s heading: the knowledge of leaving an old life behind is held against the lamentation of time passing, which is overrun by the urgent promise, and slight trepidation, of the future. It’s the limbo in between these feelings that’s meaningful: it’s not unlike a moment we’re in now, and it’s not unlike a moment found in much of Nell’s art. Alongside rock references, Nell has many signatures. She places smiley faces on objects like gravestones; she’s created an entire visual language with her painted and sculpted ghosts bearing “O” shaped mouths; she often uses lightning bolts; and she seamlessly weaves the pop with the spiritual. Yet in borrowing gestures from popular culture, Nell isn’t making an ironic comment, staking out a theoretical position, or pointing to pop’s commercial tendencies— rather, she shows its profundity. She takes an AC/DC lyric from its original world and gives it new meaning, while also honouring the context it came from. “I like celebrating,” agrees Nell. “I think there’s an element of my work that’s very child-like and simple, and I think in many ways I’m still that teenager in my bedroom listening to Triple J in wonder at a song.” And just as a teenager may self-confine to their room, a global pandemic has placed us all in domestic quarters. Nell’s studio at Carriageworks closed in late March, her residency in Auckland was cancelled and her group exhibitions were postponed. Now she’s
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getting used to Zoom meetings and Zoom yoga, is working from friends’ studios or a Bunnings table at home, and establishing an online community quilting project. “I don’t think I’ve had a day off,” she says. But within this new routine, music and spirituality are still key figures. Nell’s formative aesthetic experiences in childhood came from two places: rock’n’ roll and church. “Firstly, it was the radio,” she remembers. “I used to listen to Saturday Night Jukebox, and I used to sleep with the radio on and it was like ‘Splish, splash, I was taking a bath.’” She laughs, singing the song. Her first transcendental experience was going to church—but even this moment, in its retelling, is linked to rock culture. “There wasn’t so much visual richness, should we say, in Maitland,” says Nell, describing her regional hometown five hours from Sydney. “I remember seeing boys walking down the street with AC/DC shirts and ripped hair and long jeans and it was like a whole look, but then church also had its whole aesthetic world, too. It was the stage, and crosses, and the architecture and the space. And it had music, so it was like my first-ever concert hall. We used to go to a Baptist church and people were baptised and it was quite a performance. It was like a religious experience, but more a whole aesthetic experience, a systematised experience.” And like music, it was a repetitive experience that could be shared again and again. Soon, after attempting guitar but lacking a music community (and realising she “quite frankly just didn’t have any musical talent”), Nell began favouring painting.
A RTIST
Nell
LOCATION
Sydney
Textiles, painting, Sonic Youth and sculpture: Nell uses her smartphone to show us Sydney life at home.
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“Like, what about our mortality? And what kind of sexual beings are we? Who are we? What happens to us when we die?” — NELL
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Nell, It’s the beginning of A new AGE, 2017, acrylic on canvas, 102.1 x 81.6 cm. Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. nell is represented by roslyn oxley9, sydney.
Nell’s nascent spirituality would later find a home in Buddhism, which she was introduced to by her teacher-turned-mentor, artist Lindy Lee. Nell was Lee’s studio assistant and lived with Lee, helping with everything from dinner parties to packaging artworks. “And it was not only about being an artist,” adds Nell, “but being a human being.” Lee was practicing Buddhism and meditating daily, and a few years later, after the catalyst of a breakup, Nell began meditating too. As the artist knows, the experience of meditating isn’t necessarily dissimilar from the experiences one finds in music and pop culture. These two facets are often described as “tensions” and “dialectics” in her practice, and to some extent they are, but they coalesce, too. “I think it’s a really natural synthesis,” agrees Nell. “I also found there’s so much gravitas and spiritual dimension to what seems like a throwaway line to a rock song or a pop song.” The sense of holding multiple things, of intuitively understanding their connective logic, is also held in the personal. “When I was young I was torn between being attracted to men and women and was bisexual and feeling pulled both ways,” remembers the artist. “A lot of my work—like using the lightning bolts of AC/
DC was a colloquial slang for bisexuality—that’s part of the reason I was using it. How can these different tensions be reconciled in one thing?” Such tensions don’t necessarily have to reconcile, but nor are they opposing: pop and spirituality, joy and sadness, comedy and tragedy—they’re all held in ways that communicate an unconscious, underlying logic, often propelled by a particularly Australian mode of humour, the kind found in films such as Muriel’s Wedding and The Castle, generally as sincere as they are despairing and parodic. “Sometimes you can amplify the tensions, and sometimes you can reconcile them,” explains Nell. “But, really, you realise language has let you down a bit in those binary terms and there’s a lot in between that doesn’t have a word.” Within this gap lies the possibility, even the necessity, of communicating in a common aesthetic language, to say, as Nell puts it, “bigger things about life and death.” Like what? “Like, what about our mortality? And what kind of sexual beings are we? Who are we? What happens to us when we die? How can you reinstate urgency into your life because you know you are going to die? It’s like the painting It’s the beginning of A new AGE. That’s every morning.” ◎
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A Close Friend Called Art
W R ITER
Briony Downes
Channelling healing and transformation, the moment has never been more timely for Hiromi Tango’s emotive creations.
Looking at the work of Japanese-Australian artist Hiromi Tango, it is clear she knows her way around haberdashery. Tango’s large-scale sculptures, installations and performances manifest as brightly coloured tangles of neon tendrils, twisted threads and clandestine layers of knotted fabric, each carefully woven together to create multi-faceted forms that evoke memory and emotion. Healing and transformation are key elements in Tango’s art practice. During the course of her career, she has spent time working with neuroscientists and mental health workers to learn how the brain responds to colour, texture and light. Personal experience is deeply entwined in her process-driven work and she prefers to use recycled fabrics that hold important emotional connections. “I often use materials such as memory-laden second-hand clothing and linens,” Tango explains. “I make sculptures with my grandmother’s silk kimono, children’s precious clothing they have outgrown—these carry such rich memories and emotions. In this way, each work becomes a three-dimensional patchwork.” The first time I saw Tango’s work was when I had recently become a mother. It was Insanity Magnet, 2013, a series of photographs depicting Tango draped in a cascade of textile offcuts, pompoms, paper tags and coils of fabric. It looked like a physical representation of how I felt at the time, bombarded with a slew of new information and gender expectations—all sticking to me at once with no inclination of stopping. I later found out Insanity Magnet also related to
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Tango’s experience of becoming a mother and the struggle of maintaining a sense of self while being completely emotionally and physically available to another. “The motherhood journey started for me 12 years ago, and I am still learning every day,” she says. “I was diagnosed with both post-natal depression and carpal tunnel syndrome a few weeks after my first daughter was born, so I felt my hands—integral to a textile-based practice—were broken, stolen, and I felt disconnected within myself. I learned to create boundaries and consciously embark on a journey of wellness for myself.” Tango describes herself as a “site- and situationspecific artist,” and I was curious to find out how she had been responding to the COVID-19 pandemic. When we converse, it is in between guiding our daughters through home learning while juggling our own work. To get through this challenging time, Tango has been working in her garden, harvesting vegetables and feeling the gritty texture of earth between her fingers. She tells me the colour green has been soothing and that her children have adopted two guinea pigs. Cooking has also been calming, and Tango’s favoured shapes and colours are evident in the food she makes. Long strips of home-made pasta resemble threads of wrapped fabric, and the green and red decorations on cakes recall the vivid colours of her artwork. “We now have time to cook everything from scratch—bread, pasta and ice-cream—things I always wanted to do but not always had the time for.”
A RTIST
Hiromi Tango
LOCATION
Tweed Heads, NSW
Getting back to her garden under isolation, Hiromi Tango takes images of her harvest and home life.
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“Art has been always part of me, like an antenna or digestive system of sorts.” — HIROMI TA NGO
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Hiromi Tango, Insanity Magnet #4, 2009, pigment print on paper, 61 x 86 cm, edition of 6 + 2 AP. hiromi tango is represented by sullivan+strumpf, sydney.
When time allows, Tango has continued to add to her creative practice throughout isolation. Unlike her room-sized pieces, Beyond Borders, 2020, is a mixed media work on canvas, created to ease the pain of being separated from her parents in Japan. Diminutive, dot-like details swirl across the surface to form the shape of a bird. “In Beyond Borders, I imagined my spirit could fly like a bird to my mother and father,” reveals Tango. “That my spirit might interact with nature and bring healing energy to Japan.” Reminding me of clusters of tiny microcosms existing within a moss-covered forest floor, Tango’s considered mark-making and soft green palette reflects an underlying need to create harmony and balance. “When the international borders closed, my heart felt squeezed with the ache for my family,” Tango says. “Then I realised this situation is beyond my control. We can’t control our external circumstances, but we can control how we respond. If we remain attentive,
responsive, and aware of the needs of others around us, it ultimately helps us to adapt to change.” Looking to the future, Tango will eventually return to her solo and community art projects, working in aged care and with the mental health industry. Her repertoire will once again extend beyond singular objects into public environments—huge installations of plant-like structures blooming their way into corners and across ceilings. For Tango, the healing power of art remains a lifelong pathway. “Art has been always part of me, like an antenna or digestive system of sorts,” she says. “I was very introverted as a child and had trouble expressing myself. But art allowed me to build a deep connection to others. Art was always my close friend and it was through creating art that I finally felt free. It is my hope that what I create encourages people to slow down and reconnect on a human level.” ◎
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On Time and Timelessness
W R ITER
Sophia Cai
Hard and soft, volatile and permanent; Teelah George plays with paradoxes in textiles and bronze.
I speak to artist Teelah George via the phone on a rainy weekday afternoon. In another time, or in a time yet to come, we might have met at her studio or at a local café to talk about her artistic practice and upcoming projects. She’s just moved from Perth to Melbourne, following opportunities and forthcoming residencies, most of which are now on hold because of lockdown. Nevertheless, George has been busy working in her home studio. It has been a while since I have left the house and George’s words over the phone rejuvenate and inspire me to think about art-making and history, and how our experience of time and place are shifting—to think about how we are adapting. George works across painting, textiles, sculpture and installation to grapple with themes of history and presence, and how humans make and create. She’s interested in the stories behind objects, and how objects are collected, archived and ultimately canonised. Fittingly, she’s currently working on a major new body of work for the Art Gallery of Western Australia in direct response to the gallery’s collection of bronze. Originally researching the collection through visits to the gallery storerooms, George has now delved into online access. The forthcoming exhibition, currently set for 2021, will take the form of a site-specific installation using bronze casts as physical supports for textile works. The bronze will be shaped from hand-formed objects, bringing an element of tactility to their form, while the textile works will visually suggest patina, thereby reflecting the process of ageing bronze.
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George’s choice to combine the ‘soft’ materiality of textiles and the ‘hard’ touch of bronze is a deliberate one, and reveals some of the tensions at the heart of her practice. “I like the material distance between bronze and textiles, how they have been used within a historical context and the difference in vulnerability,” George explains. “Both are volatile and change over time, just at a different pace.” While textiles are a material that easily deteriorate over time, bronze by contrast gives an impression of permanence or solidity—a sense of the monumental. George considers bronze, like painting, to be a “loaded artistic medium,” one that carries particular gendered and historical connotations. Textiles have been—and still continue to be— sidelined within art theory because of a presumption of their domesticity and their historical framing as ‘women’s work’. Bronze sculptures and the tradition of painting, on the other hand, have historically been elevated as expressions of artistic male ‘genius’; mediums that are cerebral more than they are material. George’s recent solo exhibition at Gallery 9 in Sydney (which was installed but never opened due to the COVID-19 lockdown) explored these domestic connotations through a focus on the embroidery sampler. While we both agree this gendered reading of textiles is a tired trope, we nonetheless cannot escape it. As a self-confessed textile nerd, I admit to George that I’m drawn to her practice. In my experience, those of us who are drawn to textile practice often also display a committed obsession rather than a casual interest, and we speak a particular ‘love
A RTIST
Teelah George
LOCATION
Perth and Melbourne
Working from isolation with bronze and textiles, Teelah George’s smartphone images capture her new life in Melbourne.
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Teelah George, Sky Piece (Cottesloe), 2020, thread on linen, 140 x 125 cm. Courtesy of Neon Parc. teelah george is represented by gallery 9, sydney and neon parc, melbourne.
language’ when talking about the medium. The way George approaches embroidery is through a process akin to drawing; she uses needle and thread to build up an image through gestural movement. In other ways, her process also reflects collage in the manner that she cuts up sections, pieces them together, and builds up an image through layers of thread. There is a significance of place to her artistic process, as she explains: “I collect threads wherever I am in the world and it becomes routine—part of walking through a city.” There is an element of portability in working with cloth, of being able to work from a suitcase and therefore being able to take your project with you. For George, this transportability allows her to embed her personal experiences into the work, where many pieces eventually carry titles that reflect the site of their creation. Alongside place, time is a common topic: time as it connects to history, time as a subjective experience, and time as spent in the studio. While the artist applies a defined and regular routine to her studio
hours, she still notes the strange sense of timelessness currently being felt. If time was moving quickly before, it feels slower now, more deliberate, with gaps in the spaces between days. This notion of time (or the pause of time) is perhaps felt more obviously under COVID-19, but it is something that has been present in George’s practice from the beginning. For George, embroidery happens like a “composition in slow motion”, and this difference in timeline translates into a charged relationship with time, process and composition. It forces you to slow down—or rather, the pace is dictated by your hands. Maybe time is something that you don’t notice until you have too much or too little of it. Time, or the feeling of timelessness, is currently front and centre in our collective imagination—just as George’s work always alluded to. Soon, George and I end our hourlong conversation and we say goodbye with promises to meet for coffee in the future. We look forward to a time yet unknown. ◎
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Isolated Adventures in Art There has never been a better time to avoid art. However, as Oslo Davis discovered, the internet makes it ridiculously easy to stay connected to the art world, whether you like it or not. ILLUSTR ATIONS BY
Oslo Davis
There is a world of art available on your phone.
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Online life drawing classes are a revelation!
Everyone gets to be a Zoom background art critic.
Augmented reality sculptures beamed into your lounge room will provide hours of amusement.
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YouTube has a million art tutorials you can try at home.
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The kids will love to live stream some contemporary dance.
And there’s no shortage of in-depth art podcasts.
Artists’ studio web cams offer a unique insight into the creative process.
But if you’re sick of looking at screens, don’t worry: the galleries will reopen soon.
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Opening Doors
W R ITER
Tracey Clement
Lesley Dumbrell has been breaking gender barriers in abstract art for over 50 years.
For more than five decades Lesley Dumbrell has been making her own mark in the male-dominated enclave of geometric abstraction. “I have always said I’m a feminist and I’m very proud of it,” explains the artist. “I think what feminism did for me was liberate my brain to say, ‘You can just do whatever you want. And if you happen to be interested in weird images of patterns, and that happens to be how you think, then, well, go for it.’” And she has, opening doors for both herself and others along the way. Dumbrell is an artist with a singular vision, which she has pursued with steadfast vigour. First in Melbourne, and now from Bangkok where she has lived since the 1990s, Dumbrell paints meticulously precise, yet lyrical, abstract compositions that are sometimes awash with subtle shifts of colour. Her work is inextricably tied to the light of the landscapes she finds herself in, and her overarching concerns— time, colour, illusion, pattern and scale—have, she readily admits, remained unchanged over the decades. For Dumbrell, abstract art is a language, and, like any language, it has to be learned. “I guess the first art I really could not understand was Mondrian,” she explains. “I thought, ‘They just look like squares to me; I don’t get it. I don’t understand.’ But I decided it was my fault, not the artist’s fault. And I studied him really closely and after a while it just clicked together. There are no words I can say for what that meant, I can’t intellectually analyse it. But I suddenly got it: it’s an abstract language.”
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Learning a language, whether linguistic or visual, takes both hard work and determination, qualities Dumbrell seems to have in abundance. “I like the difficult paintings,” she says, explaining how she sometimes finds even her own paintings difficult, despite years of perfecting her unique visual language. Getting a painting right—finding the correct combination of colours, lines and forms that somehow resolve into a synergistic whole that allows the work to “sing” and to say what she wants in her own ineffable language—remains a struggle. “It becomes a kind of battle,” she admitted in a 1979 interview with James Gleeson. “Quite often I lose them all together.” Even now, more than 40 years later, she’s still in pursuit. Dumbrell’s most recent painting, a blue-onblue composition where triangles seem to dance and vibrate across the canvas on carefully plotted trajectories, took her four months to complete in her Bangkok studio. At one point, she nearly gave up. “I thought I was going to lose it,” she admits. “But then I thought, ‘Bugger it, I am not going to lose it,’ and I just kept changing some of the lines and seeing if that would work. And I eventually pulled it together,” she laughs. Dumbrell laughs a lot, her humour clearly part of an adamantine strength that propelled her to push through institutional doors at a time when being a female abstractionist was far more difficult than it is now.
A RTIST
Lesley Dumbrell
LOCATION
Melbourne / Bangkok
Shot from her smartphone, Lesley Dumbrell gives us an intimate sense of life in isolation.
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Lesley Dumbrell, Aurora, 2011, oil on canvas, 122 x 92 cm. lesley dumbrell is represented by annandale galleries, sydney and charles nodrum gallery, melbourne.
Today, her work is held by the National Gallery of Australia and most state galleries. In 1999 she was honoured with a retrospective at The Ian Potter Museum of Art in Melbourne, Shades of Light: Lesley Dumbrell 1971-1999, but she was left out of the seminal 1968 exhibition The Field at the National Gallery of Victoria, a fact that still causes consternation in some quarters. Since her first solo show—held in 1969 at Bonython Gallery in Sydney—there is no doubt that Dumbrell has made her mark on Australian art history, forging a path for others, too. In 1975 she became one of the founding members of the Women’s Art Register in Melbourne, an institution driven by a desire for change and the need to create opportunities in art for women. “It was just the beginning of women starting to say we’re sick of being second-rate people,” Dumbrell recalls. As well
as setting up the register, which remains a vital resource today, Dumbrell and her compatriots realised that even though women made up at least half of the student body, there were very few female teachers in art schools. “So we got together and put some pressure on [the art school], and we started to open the doors for women,” she says. “It was a huge push. And it did make quite a lot of change.” Dumbrell is still making changes. Recently, for the first time in her long career, she started working on sculptures: three dimensional laser-cut metal structures that play with illusion in the same way as her paintings. Asked where she is going to show her new work, she says, “I have a number of options, which is the first time in my life I can say that! That is exciting.” Lesley Dumbrell is still experimenting, and still opening doors. ◎
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Podcasts
PR ESENTED BY
Tiarney Miekus
Faraway, so close #2: Parenting and creating with Tai Snaith and Ross Coulter Listen hereiii
Raising children, having an art practice and making it through isolation—how do you do it in a way that works for everyone in the family? In this second edition of Faraway, so close—a podcast dedicated to considering the anxieties and opportunities emerging in the arts in our new COVID-19 world—we’re considering what parenting and creating looks like during isolation with artists Tai Snaith and Ross Coulter.
SUBSCR IBE TO OUR PODCASTS
Listen on Apple Podcasts Listen on Spotify 74
Agatha Gothe-Snape, Lion’s Honey, 2019, 7 readers, 1 green vinyl chair, letter from the artist, the artist ’s sheepskin rug, read books and 7 store-bought wall-mounted shelves. Commissioned by Kaldor Public Art Projects. Photo: Jenni Carter. Photo courtesy of the artist; The Commercial, Sydney; and Art Gallery of New South Wales, Sydney. Installation view, Art Gallery of New South Wales, Making Art Public, Sydney, 2019.
Agatha Gothe-Snape on the creation of art Listen hereiii
Even Agatha Gothe-Snape struggles to define her art. While performance may be the easiest description, there are many avenues winding through her practice including dance, collaboration, text, public works, PowerPoint slide presentations, augmented reality and documentary. If the form of Gothe-Snape’s work can be slippery, so too can the content. Broadly speaking, much of her work looks at artistic processes, the canon of art history, and the social and aesthetic contexts that artworks sit within.
Louise Weaver, image courtesy of Buxton Contemporary.
Louise Weaver on creating as relating to the world Listen hereiii
“In some ways I don’t think of my life and art as separate things, I think it’s one in the same thing,” says artist Louise Weaver when speaking of her creative pursuits. “I don’t see it as a career as much as something that is an extension of my life and would go on regardless of whether I had opportunities to exhibit or not.”
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Can You Hear It, Too?
W R ITER
Barnaby Smith
Through the medium of sound and the act of listening, Lawrence English mines power and control.
The medium of sound art, especially when it has a strong field recording component, offers an engagement with environment and time that is arguably on a different level of meaning to other art forms. When created by artists like Lawrence English—and his major influences, such as musique concrète composers Francisco Lopez and Luc Ferrari—field recordings can be a vibrational impression of locality and landscape that both asks and answers questions of history, politics, technology and more. Much of English’s work is an expression of the contemplative act of listening—and listening, as a plethora of meditation apps implore, is among the most profound ways of connecting with a moment, or a place. It follows, then, that English’s ears have been attuned to the unfamiliar auditory environment brought about by COVID-19 and lockdown. “In terms of the local experience here in Brisbane, I am ceaselessly inspired by the quieter nature of the city,” he says. “Almost no planes, fewer cars, a lower ambient noise floor—all these things reveal a greater horizon of experience. Suddenly I can listen to the city hall bell being tolled with exacting clarity. It is over two kilometres from where I live. I will honestly miss this when the world slowly creeps back to its former self.” English’s recent output includes his new album, Lassitude, 2020, made up of two lengthy pipe organ compositions; Standing Wave, 2019, a sound and light installation in the bowels of an HMAS submarine for Fremantle Biennale; and Rhythm of Protest, 2019, a politically-charged exhibition of images and sound works at Lismore Regional Gallery, addressing the
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‘weaponisation’ of sound and the escalating ferocity of the sonic means of quelling protestors at mass events around the world. The sound section of the show included edited field recordings from large protests in Pittsburgh and Oakland. The latter two projects featured one of English’s most fascinating aesthetic ideas: ‘latent sound’. Put simply, this is sound that is suggested, or ‘trapped’, within imagery—visual elements that imply a sonic component. English also explored this concept in his landmark collaboration with the experimental musician Jamie Stewart for a soundtrack to filmmaker David Lynch’s photographic series Factory Photographs, 2014 (which later appeared at Queensland Art Gallery and Gallery of Modern Art in 2015 as part of the Lynch retrospective Between Two Worlds). English adopted the idea of latent sound from the British musician and author David Toop, outlined in his book Sinister Resonance, highlighting how sound can be perceived in certain artworks, like paintings or sculpture, that have no audible output. “That book starts out with an examination of Nicola Maes’s masterpiece The Eavesdropper, 1657,” says English. “The painting is a beautiful example of this idea. Within the frame is a great deal of acoustic happenings. The viewer almost involuntarily becomes the listener, casting their mind’s ear into the canvas where they find themselves filling in all manner of sonic and semantic exchanges. “Working on Factory Photographs was an exercise in fleshing out this idea into something tangible.
A RTIST
Lawrence English
LOCATION
Brisbane
Through the stark aesthetic of his smartphone images, Lawrence English provides a striking take on life during lockdown.
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“Listening is not a given, it requires training and energy. It’s an act of concentration.” — LAW R ENCE ENGLISH
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Lawrence English, Utterance, installation view, Museum Of Applied Arts And Sciences. Photograph: Noel Mclaughlin. lawrence english is the founder and director of room40.
The recording we made was about exploring an imagined, historic projection of sound. I like to think of latent sound as a kind of spectral haunting.” Latent sound was also important in English’s 2018 work Seirá, which premiered at AsX Festival in Los Angeles. For this 12-minute sound piece, English utilised the remaining six defence sirens, taken from the now decommissioned Los Angeles Civil Defence System, to blare out a composition based on the latent sound found in old images of these sirens. Seirá might be regarded as a partner work to the aforementioned Rhythm of Protest, as both projects confront the role of sound in public spaces—particularly when it becomes a repressive force. This political engagement has led English into the orbit of Adam Curtis, the brilliant British documentary maker whose films, as English puts it, “allow the complex narratives of the geopolitical environment to be played out through an examination of the interrelations of key figures, socio-political developments and events.” Having met and talked with Curtis, English is working on a new sound project that explores Curtis’s
reading of the term ‘hypernormalisation’. The label refers to the pervasive pseudo-reality created by corporations, governments and agents of technology in order to maintain structures of power and control. This may well end up as English’s most wide-ranging and discursive sound art yet. But while this Curtis-inspired work feels ambitious, complex and important, it is also true that at his essence, English remains devoted to the simple impressions and insights that come from the sensory act of listening. English has experimented with field recording since childhood, and remains beholden to this quiet act of attentiveness. “For me, field recording is about contemplating what it means to listen and how creativity is possible within a listening practice. There are moments where the act of field recording is cathartic and relaxing, but it’s also quite tiring when you’re very focused on the performance of the recording. Listening is not a given, it requires training and energy. It’s an act of concentration.” ◎
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What Can’t Be Easily Expressed
W R ITER
Zara Sigglekow
Through mysticism, power and feminism, Willoh S. Weiland shows us what performance can do.
It could be argued that expressing what cannot be expressed is the driving paradox for all art. It could be a slight mark on paper, or a concert at a stadium. Willoh S. Weiland’s works are closer to the latter. Often extraordinary feats of multimedia performance that involve visual elements, sound and collaboration, they have a poetic tone and are very much alive. Components of her work can appear as small absurdities—an ice-cream cone shaped as a breast, a monologue sent to space—yet they touch on current concerns, including our relationship to technology and feminism, and are imbued with mysticism and critique. From 2010-2018 Weiland was the director of APHIDS, a Melbourne-based artist-led experimental arts organisation operating for 25 years. Now living in Hobart, she is a creative associate of Mona Foma (Mona’s summer festival of arts) and continues to undertake research and make art. Her most recently performed work, Howl, part of the 2020 Adelaide Biennial of Art Monster Theatres, was an homage to twelve artists whose work has been historically and recently censored. Through a parade set to Mozart’s Requiem in D Minor, the piece combined elements of a DIY carnival with a protest against censorship, profiling controversial local artists such as Soda_Jerk and Jason Wing. Brash and articulate, Weiland tells of her upbringing between Belize in Central America and
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Australia, which she describes, respectively, in heady and bare terms. “I grew up in this very idyllic Caribbean black culture,” she says. “We lived on a boat and it was a very dreamy and magical place with dolphins and mangos.” When Weiland was eleven her mother, a sculptor, bought a piece of land on Kangaroo Island where they both lived for some time before moving back to the Americas. Then, as a teenager, Weiland was back in Australia at boarding school in Adelaide. “These places had a contrast, I guess, in creative expression,” says Weiland. “But also, I really think it formed my interest in language and narrative. I grew up speaking Belizean Kriol, which is a language constructed under slavery composed of riddles and double entendres; this speaking to power where power doesn’t know.” Alongside power and language is the centrality of collaboration in Weiland’s work. “It’s a process that I find endlessly fascinating and it really drives my excitement and interest in making work,” she explains. Her longest artistic partnership to date, from 2008-2015, was with varying scientists, and led to the creation of three works known as the Space Trilogy, which explored, each in their own way, interstellar communication. “The works themselves pose artistic questions but really what was driving me was the collaboration of the scientists,” recounts Weiland. “How that conversation evolved really determined the way the artworks were constructed.”
A RTIST
Willoh S. Weiland
LOCATION
Hobart
Humourous, poignant and mystical, Willoh S. Weiland gives us images of life in Hobart isolation.
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Willoh S. Weiland, Lick Lick Blink, 2019, video still, Museum of Contemporary Art, Sydney. Courtesy of Willoh S. Weiland. Photograph: Sandi Sissel ASC and Keith Deverell. willoh s. weiland is a creative associate of mona foma, hobart.
More recently, she’s worked with the National Older Women’s Network—a group promoting the rights, dignity and wellbeing of older women. “In Sydney I worked with a group of 120 women,” says Weiland. “They were all there at 9:45 am for the shoot, all so full of generosity and intelligence, and across the day they took their gear off and totally engaged in this experimental and weird film.” The work emerged as a participatory multimedia installation at the Museum of Contemporary Art as part of The National in 2019. It granted entrance to one audience member at a time, who watched the short film alone while eating a choc-top ice-cream shaped as a breast. Not incidentally, Weiland is aware of the vulnerability and awkwardness for an audience participating in performance art. Her methods both draw viewers in, while still allowing unease as a generative space of friction. Qualities of the carnival can aid this. “The carnival is useful in that sense because they rely on things like music, repetition, the uncanny and location,” says Weiland. “And all of these things circumnavigate the resistance that we all naturally have towards anything happening.” Likewise, humour also
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renders the important issues in Weiland’s work more palatable for those who need it, such as the aforementioned Lick Lick Blink, which ultimately speaks of women’s treatment and lack of visibility in cinema. But humour can also unsettle in a contemporary art context; there’s uncertainty of whether you’re allowed to laugh due to the rarefied nature of art, and Weiland describes this state as “rustling peoples’ psyches.” A fascination with human behaviour continues in Weiland’s research and artmaking, as does her focus on feminism. Currently, she is developing the project My Monster which centres on Tamagotchis, the digital pets popular in the late 90s. “I’m obsessed with Tamagotchis and how they were so intense because they could die if neglected,” says Weiland. “It’s such an intense state to put into something inanimate.” In addition to this project, she’s working with researchers at University of Melbourne where she’s looking at the masculine-gendered assumptions in computer science engineering. “It is the stuff of science fiction and it’s relevant,” she explains. “I’m always trying to muscle into the conversation and go, ‘Hey, dudes’.” ◎
SEIKATSU KOGEI
OBJECTS FOR INTENTIONAL LIVING February 21 - August 29 The Japan Foundation Gallery
Presented by
In partnership with Gallery yamahon Supported by Asahi Group Holdings Choya Umeshu Co., Ltd.
The Japan Foundation, Sydney Level 4, Central Park 28 Broadway Chippendale NSW 2008 91
jpf.org.au
Cigdem Aydemir Like A Prayer 2 July to 13 August
Cigdem Aydemir, Veils on Veils (Beth), c-type print, 120 x 90 cm.
A Basement 2 / 1 Victoria Street, Windsor, 3181
W finkelsteingallery.com
finkelsteingallery.com
E ask@finkelsteingallery.com
T +61 413 877 401
biennaleofsydney.art
SAMARA ADAMSON-PINCZEWSKI Sinuous Spheres 22 August - 12 September
CHARLES NODRUM GALLERY
www.charlesnodrumgallery.com.au (03) 9427 0140 267 Church Street Richmond Victoria Sharp 2, 2019-20, acrylic, iridescent acrylic, fluorescent acrylic, Topcoat with UVLS on aluminium sheeting, 51 x 32cm
charlesnodrumgallery.com.au
EMMA FINNERAN BLUE IN GRAVY JULY 23 - AUGUST 15
CHALK HORSE 167 WILLIAM STREET, DARLINGHURST SYDNEY NSW 2O1O AUSTRALIA PH + 61 2 9356 3317 WWW.CHALKHORSE.COM.AU
chalkhorse.com.au
heide.com.au
MAKING HER MARK selected works from the collection
14 JULY – 23 AUGUST 2020 313 Healesville-Yarra Glen Road, Healesville VIC 3777 twma.com.au IMAGE: Melinda Harper, Untitled 2002, oil on canvas, 182.7 x 151.8 cm, TarraWarra Museum of Art collection, Gift of Eva Besen AO and Marc Besen AO, Donated through the Australian Government’s Cultural Gifts Program 2012.
SUPPORTED BY
INAUGURAL FOUNDATION SUPPORTER
MAJOR PARTNERS
MAJOR SPONSORS
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GREENWORLD 18 JULY–6 SEPTEMBER 2020
Artists: Wona Bae and Charlie Lawler, Naomi Eller, Nicole Foreshew, Teelah George, JW Lowe, James Morrison, Betty Muffler Greenworld offers a reflection on our engagement with nature through a lens of healing. Artists describe the ambiguities of our time by poetic means, variously examining the relationship between an individual and their surroundings and the role nature plays in human consciousness.
Bayside Gallery Brighton Town Hall Cnr Carpenter & Wilson Streets Brighton VIC 3186 Opening hours Wednesday – Friday, 11am – 5pm Saturday & Sunday, 1pm – 5pm Enquiries Tel 03 9261 7111 bayside.vic.gov.au/gallery
@baysidegallery
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Image: James Morrison, Swampwort 2018 (detail), oil on canvas, 51 x 42cm. Courtesy the artist and Darren Knight Gallery, Sydney
bayside.vic.gov.au/gallery
The NEW BLACK VANGUARD PHOTOGRAPHY between ART and FASHION Curated by Antwaun SARGENT
1 JULY– 27 SEPTEMBER 2020 Bunjil Place Gallery 2 Patrick Northeast Drive Narre Warren VIC 3805
www.bunjilplace.com.au Exhibition organised by Aperture, New York The New Black Vanguard is made possible, in part by Airbnb Magazine
Image: Tyler Mitchell, Untitled (Hijab Couture), New York, 2019 © Tyler Mitchell
bunjilplace.com.au
9 JUNE - 9 AUGUST 2020
AR+COLLECT A BRAG Collection Project
With rotating Collection highlights featuring: Dynamic Duos: Jean Bellette & Paul Haefliger, Frank & Margel Hinder Celebration of Colour Hill End Highlights
#BRAGSocial:TheIsoChronicles A BRAG online initiative
#BRAGStudioSet #BRAGTown #BRAGVoices #LettersFromFAR www.bathurstart.com.au
@BathurstRegionalArtGallery
IMAGES: BRAG Collection, photo by David Roma. Jean Bellette Still life 1955, oil on composite board, Collection Bathurst Regional Art Gallery, Purchase 1955. Bill Moseley in studio, image courtesy of the artist.
bathurstart.com.au
artereal.com.au
Kylie Stillman: Not fully or properly either of two things 11 July – 30 August 2020 Drawing on the sewing and garment construction skills she learnt at a young age, Kylie Stillman’s practice explores what it means to show three-dimensional forms on a two-dimensional plane. Making use of overlooked and discarded objects, Not fully or properly either of two things presents highlights from the artist’s existing practice alongside new sculptural works made from everyday materials, including sheets of plywood, aluminium window furnishings, furniture and books.
Kylie STILLMAN, Scape (2017), hand-cut plywood, 200 x 240 x 30cm, image courtesy of Utopia Art Sydney. Photography by Christian Capurro.
Town Hall Gallery Hawthorn Arts Centre 360 Burwood Road, Hawthorn VIC 3122 03 9278 4770
boroondara.vic.gov.au/arts
Opening Hours: Mon – Fri, 10am to 5pm Sat/Sun, 11am to 4pm Closed public holidays boroondara.vic.gov.au/arts
Elisabeth Cummings Eastern Arrernte country & Morocco
7 July – 1 August 2020
kingstreetgallery.com.au
kingstreetgallery.com.au
Jacky Redgate— HOLD ON A Geelong Gallery exhibition until 14 February 2021
Visit our website for associated online resources.
Exhibition partner
In the creation of new work, Jacky Redgate was supported by the NSW Government through Create NSW and University of Wollongong Jacky Redgate HOLD ON #11 2019–20 pigment ink on fabric Courtesy the artist and ARC ONE Gallery, Melbourne © Jacky Redgate
geelonggallery.org.au
a finer grain. Selected Works from the SAM Collection An exhibition presenting key and lesser-known works by Australian women artists from the Shepparton Art Museum collection. Showing until 25 October 2020 FREE ENTRY w sheppartonartmuseum.com.au Image: Margaret Preston, Magnolias, not dated, woodcut print. Shepparton Art Museum collection, Sir Andrew Fairley Bequest, 1975.
sheppartonartmuseum.com.au
@SAM_Shepparton
ART MONTH Sapphire Coast August 2020 An inspiring digital program from diverse and exceptional
artists dancers performers musicians crafters makers authors from across the Bega Valley Shire
visit the portal gallery.begavalley.nsw.gov.au/ArtMonth
gallery.begavalley.nsw.gov.au
WO OR RK K II SS A A H HE EA A LL E ER R W SHIREEN MALAMOO
SHIREEN MALAMOO
PERC TUCKER REGIONAL GALLERY PERC TUCKER REGIONAL GALLERY EXHIBITING 25 SEPTEMBER – 22 NOVEMBER 2020 EXHIBITING 25 SEPTEMBER – 22 NOVEMBER 2020
townsville.qld.gov.au townsville.qld.gov.au Image: Shireen Malamoo, Appeal to higher power | Black elegance pray Image: | Keep your mouthAppeal shut there are people than youpray 2018 Shireen Malamoo, to higher powerworse | Blackoff elegance and oil on canvas, 86 xare 86.3 cm, framed |Acrylic Keep your mouth shut there people worse off than you 2018 Photo: Through the Looking Glass Studio Acrylic and oil on canvas, 86 x 86.3 cm, framed Courtesy of the the Artist Photo: Through Looking Glass Studio Courtesy of the Artist townsville.qld.gov.au
INNOVATIVE AUSTRALIAN WOMEN Now Showing
Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.
CONSTANCE STOKES 1906 - 1991 In a Churchyard 1933 oil on canvas 61 x 61 cm © Estate of the Artist
THEA PROCTOR 1879 - 1966 The Game 1926 hand coloured woodcut on paper 15.5 x 15.2 cm © Art Gallery of New South Wales
ELIZABETH KUNOTH KNGWARRAY 1961 - Bush Yam 2007 (detail) synthetic polymer on linen 229 x 117 cm
Specialists in Australian Art
colonial, impressionist, modern, contemporary and indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.
5 Malakoff Street North Caulfield VIC 3161 Telephone: (+61 3) 9509 9855
Email: ausart@diggins.com.au Website: www.diggins.com.au
diggins.com.au
Temporarily open by appointment. Please contact the Gallery prior to visiting.
LA TROBE ART INSTITUTE
Image: Opening nght for ‘The Grammar of Glitch’ (2018), artwork at right by Antonia Sellbach
La Trobe Art Institute’s galleries are closed but are activities continue. Our website has been updated with an archive of our recent exhibition essays, fold-out roomsheet posters and other writings. Our social media platforms continue to share the art and ideas of artists we are working with. Our team is rescheduling exhibitions and planning for the future. We are reaffirming our commitment to art and the work of artists, researching new models and methodologies of operation, while taking time to reflect on what we have done and how we did it. We are mindful of the impact current circumstances are having on our arts communities – our artists, our La Trobe University students and our industry – and extend our best wishes to all while we work to ensure sustainibility and strength for ourselves and the stakeholders we are connected to and invested in. Together, we will get through. Together, we will again rejoice in the power of art.
latrobe.edu.au/art-institute
northsite.org.au
24 July to 26 August 2020 Warmun Artists - The Ochre Story and
Kun-madj: Fish Traps and Dilly Bags Babbarra Womens Centre & Maningrida Arts
47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily JapingkaAboriginalArt.com Images Top: Mabel Juli Wiringgoon, Moon Dreaming, natural ochre & pigments on canvas, 140 x 100 cm. Middle row: (L to R) Patrick Mung Mung, Ngarrgooroon Country, natural ochre & pigments on canvas, 120 x 120 cm; Deborah Wurrkidj, Wak, hand printed textile, 200 x 130 cm; Vera Cameron, Djamo – dog, fibre sculpture, 80 x 15 x 29 cm; Susan Marrawarr, Fishtrap, hand printed textile, 415 x 140 cm. Bottom row: (L to R) Peggy Patrick, Boab Tree & Lightning, natural ochre & pigments on canvas, 180 x 120 cm; Shirley Purdie, Gyinnyan – The Crane, natural ochre & pigments on canvas, 80 x 80 cm; Lucy Yarawonga, Bawaliba, hand printed textile, 190 x 135 cm.
japingkaaboriginalart.com
Natalie Hampson, Frosty Dawn (detail), Photograph, OptiKA 2019.
BEST PHOTOGRAPH AWARD: $4000 sponsored by DFO Moorabbin PEOPLE’S CHOICE AWARD: $1000 sponsored by DFO Moorabbin PORTRAIT AWARD: $1000 sponsored by DFO Moorabbin VIDEO AWARD: $500 sponsored by the City of Kingston
ENTRIES CLOSE: 5 October ENTRY: $25 full price $15 concession
ENTRIES NOW OPEN! OptiKA 2020 invites photographers and videographers of all skill levels to capture images of Kingston that respond to the evocative theme of ‘Connection’. All eligible entries will be shown at the Kingston Arts Centre from November 2020, before travelling to DFO Moorabbin for an instore exhibition in April 2021. This year’s Curatorial Committee will include Professor Daniel Palmer, Associate Dean of Research and Innovation in the School of Art at RMIT University alongside video, performance and photography artist Nina Ross, and photographer and filmmaker, Rachel Main of Shuttermain Photography.
For further details on these industry professionals and information surrounding this year’s professional development workshops, please visit kingstonarts.com.au
kingstonarts.com.au
canberraglassworks.com
eastgatejarman.com.au
Mapping Our Own Future
Online JULY & AUG
Anthony Romagnano Not titled 2017 greylead pencil, pencil on paper 35 Ă— 25 cm
Mapping Our Own Future is a weekly series of solo and group virtual exhibitions curated from Art Project Australia’s collection. An extension of our gallery to a virtual space, the series offers a place to connect with our artists from home.
artsproject.org.au/explore/virtual-exhibitions PROUDLY SUPPORTED BY
gallery@artsproject.org.au www.artsproject.org.au
artsproject.org.au
Find us on social media #artsprojectaust
Corner of Bridge & William St, Muswellbrook Tue to Fri 10am - 5pm │ Weekends 10am - 1pm arts.centre@muswellbrook.nsw.gov.au muswellbrookartscentre.com.au
Angus Nivison, Menace 2002, acrylic on canvas, 180 x 170cm, Winner Open Art Prize 2002, Muswellbrook Shire Art Collection.
muswellbrookartscentre.com.au
Erwin Fabian, Inside Out: Space and Process - Erwin Fabian & Anne-Marie May, installation view. Courtesy the Estate of Erwin Fabian, Australian Galleries, and Robin Gibson Gallery, Sydney. Photography Christian Capurro.
mcclellandgallery.com
lintonandkay.com.au
MIIK GREEN FRACTURE 27 June - 22 July Subiaco Gallery
Miik Green, ‘Fragmented Portal #5’ 2020, Stainless steel and automotive paint, 160 x 120 x 6cm
BRENDON DARBY AVIARY: Take Your Time 25 July - 13 August Subiaco Gallery
Brendon Darby, ‘Red Tailed Black Cockatoos’ 2020, Oil on acrylic on canvas, 110 x 170 cm
YVONNE ZAGO FEVER DREAMS 15 August - 3 September Subiaco Gallery
Yvonne Zago, ‘Singing to My Memories’ 2020, Mixed media on canvas, 111 x 152 cm Subiaco 299 Railway Road (Corner Nicholson Road) Subiaco WA 6008 Telephone +61 8 9388 3300 subiaco@lintonandkay.com.au
West Perth Stockroom and Framing 11 Old Aberdeen Place West Perth 6005 Telephone +61 8 6465 4314 perth@lintonandkay.com.au
Mandoon Estate Winery 10 Harris Road Caversham WA 6055 Telephone +61 8 9388 2116 info@lintonandkay.com.au
lintonandkay.com.au
Larry Cherubino Wines 3642 Caves Road Wilyabrup WA 6280 Telephone +61 8 9388 2116 info@lintonandkay.com.au
gragm.qld.gov.au
Specialising in a wide range of contemporary Aboriginal art from 40+ Aboriginal owned art centres around Australia
July 10-August 4
In Black & White + Top End Sculpture August 7- Sept 1
Wildlife! EVERYWHEN Artspace 39 Cook Street, Flinders 3929 Open Friday-Tuesday, 11-4 | T: 03 5989 0496 E: info@mccullochandmcculloch.com.au mccullochandmcculloch.com.au mccullochandmcculloch.com.au
flg.com.au
HAHNDORF ACADEMY PRESENTS THE HEYSEN PRIZE FOR LANDSCAPE 2020 THE HEYSEN PRIZE FOR LANDSCAPE –ACQUISITIVE $20,000 PEOPLE’S CHOICE PRIZE – NON-ACQUISITIVE $1,000 The Heysen Prize for Landscape 2020 invites artists to express their deep connection with – or concern for – the Australian landscape and environment and to pay homage to Hans Heysen as an artist and environmentalist.
Deadline for entries 5pm Friday 2 October 2020 Finalist Exhibition 12 December 2020 –14 February 2021 Enter online http://hahndorfacademy.org.au/heysen-prize-1 HAHNDORF ACADEMY, 68 Main Street, Hahndorf SA 5245 rachel@hahndorfacademy.org.au hahndorfacademy.org.au
wyndhamtogether.com.au/tag/true-lies
ARTISTS AT HOME 13
June
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19
July
2020
ROCHFORT GALLERY Our return to the gallery showcases our artists at home, capturing the beauty that resides in the truthful reality of everyday life. Sometimes the genre of still life glorifies the mundane, bringing powerful presence to the humble pear or the striped tablecloth. Our exhibiting artists all tell a story about the intricate details of their home or painting ‘plein air’; a natural second home for some of our artists. Gallery Hours: Friday: 10am - 5:30pm & Saturday: 10am - 4:00pm 317 Pacific Highway, North Sydney NSW 2060
Paul McCarthy
Kobie Bosch
Christine Webb
Barbara Goldin
Sally Ryan
Ken Knight
Phil Stallard
Felicia Aroney
ROCHFORT GALLERY BLOG CLICK TO WATCH
Stay connected with the Rochfort Gallery Community as we bring you our Artist Studio Series, new artwork, collections and stories directly from the studios of our amazing artists and gain insight into their motivation and inspiration.
blog.rochfortgallery.com
blog.rochfortgallery.com
A–Z Exhibitions
JULY/AUGUST 2020
Victoria
James Street, McClelland Drive,
Flinders Lane, Gertrude Street, Sturt Street, Federation Square,
Dodds Street, Punt Road, Rokeby
Street, Lyttleton Street, Dunns Road,
Nicholson Street, Willis Street, Abbotsford Street, Little Malop Street, Tinning Street, Cureton Avenue, Alma Road, Langford Street, Lydiard Street North, Albert Street, Horseshoe Bend, Bourke Street, Whitehorse Road, Vere Street, Barkers Road, Roberts Avenue, Templestowe Road, Church Street
ar t g ui d e .c o m . au
Alcaston Gallery www.alcastongallery.com.au 11 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9418 6444 Open by appointment. See our website for latest information.
Ararat Gallery TAMA www.araratgallerytama.com.au 82 Vincent Street, Ararat, 3377 [Map 1] 03 5355 0220 See our website for latest information. Ararat Rural City Council has made the difficult decision to temporarily close some services including Ararat Gallery TAMA (Textile Art Museum Australia) to help ensure the health and safety of the community and help prevent the spread of the Coronavirus (COVID-19).
ARC ONE Gallery www.arcone.com.au Tiger Yaltangki, Malpa Wiru (Good Friends), 2019, synthetic polymer paint on linen, 152 x 198 cm. Courtesy of the artist, Iwantja Arts, SA and Alcaston Gallery, Melbourne.
45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9650 0589 Tue to Sat 11am–5pm. See our website for latest information.
1 July—25 July Dinosaurs and Rockers Tiger Yaltangki
Anna Schwartz Gallery
Maree Clarke, Kangaroo Tooth Necklace, 2020, kangaroo teeth (50), kangaroo leather, sinew, emu oil and ochre. Courtesy of the artist and Vivien Anderson Gallery. Artbank Melbourne by Ben Hoskings. Current The Grey Zone: Collecting and Collaboration in Contemporary Art and Design Edition Office and Trent Jansen. The Grey Zone is now open to view by appointment at Artbank Melbourne. Presented by Artbank, Edition Office and Trent Jansen – this exhibition inhabits the nexus between art and design. Blurring traditional boundaries between visual artists and designers this site specific project explores the concept of the Collection as a cultural repository of ideas, objects and memories. Artbank has taken appropriate measures to ensure physical distancing and all Safe Work Australia and government guidelines are followed to ensure the safety of our visitors and staff. To make an appointment to visit our Melbourne showroom contact Artbank. Featuring artists from the Artbank Collection – Narelle Autio, Nathan Beard, Stephanie Schrapel, Tim Johnson, Philip Juster, Jim Marwood, Alasdair McLuckie, Pip Ryan. Alongside – Edition Office, Maree Clarke, Trent Jansen and Johnny Nargoodah, Field Experiments, Charles Wilson, Guy Keulemans, Kyoko Hashimoto, and Vicki West.
www.annaschwartzgallery.com 185 Flinders Lane, Melbourne, VIC 3000 [Map 2] mail@annaschwartzgallery.com Thur and Fri by appointment, Sat 1pm–5pm. See our website for latest information.
Art Echo Gallery www.artecho.com.au
Honey Long and Prue Stent, Wax, 2019, Archival pigment print, 159 x 106 cm. Courtesy of the artists and ARC ONE Gallery, Melbourne.
32–34 Wellington Street, Collingwood, VIC 3066 [Map 3] 0431 306 354 Open by appointment.
28 July—29 August Touching Pool Honey Long and Prue Stent
Artbank www.artbank.gov.au
John Nixon, Groups + Pairs 2016, 2020, installation detail. Photo: Amalia Lindo. Courtesy the artist and Anna Schwartz Gallery. Continuing Groups + Pairs 2016–2020 John Nixon 126
18–24 Down Street, Collingwood, VIC 3066 [Map 3] Freecall 1800 251 651 See our website for latest information. Our showrooms in both Sydney and Melbourne will be open by appointment only. Please contact Artbank to make an appointment.
Fu Hong, Magnolia, oil on canvas, 168 x 168 cm. Ongoing Stock sale
Art Gallery of Ballarat www.artgalleryofballarat.com.au 40 Lydiard Street North, Ballarat VIC 3350 [Map 1] 03 5320 5858 Daily 10am–5pm. See our website for opening hours. The Art Gallery of Ballarat is Australia’s oldest regional gallery with a remarkably comprehensive collection of Australian art. Visitors have the opportunity to walk through the history of Australian art, with important representative works from colonial to contemporary periods.
ArtSpace at Realm and Maroondah Federation Estate Gallery www.artsinmaroondah.vic.gov.au ArtSpace at Realm: 179 Maroondah Highway, Ringwood, VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–8pm, Sat & Sun 10am–5pm. See our website for latest information. Maroondah Federation Estate Gallery: 32 Greenwood Avenue, Ringwood VIC 3134 [Map 4] 03 9298 4553 Mon to Fri 9am–5pm. See our website for latest information.
David Noonan, Stagecraft, installation view, 2020. 1 July—4 October David Noonan: Stagecraft Large-scale silkscreen collages, tapestries and film made between 2015 and 2020.
Anne Wallace, Eames Chair, 2004, oil on canvas Collection of Kate Green and Warren Tease, Sydney. 1 July—20 September Anne Wallace: Strange Ways Paintings which capture tension between the real and the imagined. On tour from QUT Art Museum. 1 August—15 November David Frazer: Another night on earth Works by notable Australian printmaker David Frazer, some of which refer to work by his distant cousin Lionel Lindsay. 1 August—22 November Pitcha Makin Fellas: Join the club Colourful and irreverent paintings explore the good and bad sides of the AFL by Ballarat-based Indigenous collective. Madeleine Cruise and Roby Pilven: The golden pantomime A collaborative exhibition of paintings and ceramics, exploring both domestic and theatrical themes. 1 August—27 September Mairin Briody: Signal Paintings inspired by changes in technology. A Backspace exhibition for emerging artists.
Left: Vicki Couzens, Ponponpoorramook (red-tailed black cockatoo), 2007, handcoloured etching. Image drawn on the plate by the artist and printed by APW Printer Martin King at Australian Print Workshop, Melbourne, 2007. Right: Teho Ropeyarn, Uyinthayn, 2017, ink, mixed media vinyl-cut print with acrylic wash on hahnemühlepaper, vinyl-cut print on paper. Artist represented by Kick Arts, Cairns.
Fernando do Campo, The Kookaburra Self-Relocation Project (WHOSLAUGHINGJACKASS), 2020. Photography: Shan Turner-Carroll. and James Alfred Turner. Curated by Laura McLean. Civics considers the theoretical, political, and practical aspects of citizenship, as well as its rights and duties. It does this through a highly focussed and localised study of the settlement of Ringwood and surrounds, taking as its starting point a selection of historical photographs, paintings, and objects drawn from the collections of the Ringwood Historical Society and Maroondah City Council. These are accompanied by contemporary artworks, strategically deployed to disrupt the celebratory narrative of placemaking. They consider the history of governance, and the ways in which imperial systems of data collection, organisation, and representation are used to form nation states and territories.
Arts Project Australia www.artsproject.org.au/explore/ virtual-exhibitions/ 24 High Street, Northcote, VIC 3070 [Map 5] 03 9482 4484 Mon to Fri 9am–5pm, Sat 10am–3.30pm.
15 July—6 September Before Time: Angkamuthi meets Gunditjmara Teho Ropeyarn and Vicki Couzens. Curated by Kelly Koumalastos. ArtSpace at Realm Rich in storytelling, Before time: Angkamuthi meets Gunditjmara presents the creative practices of Teho Ropeyarn and Vicki Couzens. Both artists echo a deep connection with their cultures – Teho Ropeyarn draws on the traditions of the Angkamuthi and Yadhaykana clan groups from Cape York Peninsula in Queensland and Vicki Couzens portrays imagery from her Gunditjmara heritage, the traditional owners of the Victorian region near Warrnambool. In bringing these two geographically disparate artists together, exhibition curator Kelly Koumalatsos bridges the usual north-south divide through presenting connections found within the stories and the visual imagery. 1 July—14 August Maroondah Federation Estate Gallery: CIVICS Fernando do Campo, Rose Nolan, Tom Nicholson, Raquel Ormella, Zoë Sadokierski & Kate Sweetapple, Jan Sebinski,
Anthony Romagnano, Not titled, 2017, greylead pencil; pencil on paper, 35 x 25 cm. July—August Mapping Our Own Future Selected Arts Project Australia studio artists. 127
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Australian Centre for Contemporary Art (ACCA) www.acca.melbourne 111 Sturt Street, Southbank, VIC 3006 [Map 2] 03 9697 9999 Please check our website for reopening updates. 15 August—22 November Frances Barrett: Meatus Curated by Frances Barrett, with Nina Buchanan, Hayley Forward, Brian Fuata, Del Lumanta and Sione Teumohenga.
Lieblich, and Sean Peoples. The outcome of a national open call for submissions, ACCA Open was devised as a way for ACCA to continue to work with and support contemporary artists during the COVID-19-related gallery closures and disruptions. Launching on 19 August Amrita Hepi and Sam Lieblich, Neighbour – a chatbot/algorythmic entity programmed to uncover the answer to the question “how does it feel?”. Madeleine Flynn and Tim Humphrey, How much time do we have? – a live-generated audiovisual work comprised of breaks, flows, segments, junctures and shifts that is made during the timeless state of the present evernow.
Commissioning Curator: Annika Kristensen.
ACCA Digital Public Programs July highlights
Drawing on her background in performance, curating and collaborative models of making, Sydney-based artist Frances Barrett conceives the ACCA galleries as a form of ‘meatus’- an opening or passage leading to the interior of the body - for the audience to enter and experience multiple voices, embodied knowledges, affective territories, deep listening and relational practice in an immersive and sensory exhibition of sound and light.
Defining Moments: Australian Exhibition Histories 1968–1999, ACCA’s popular two-year lecture series designed to shed light on the markers of change in Australian art from the last three decades of the twentieth century, are now available as illustrated video lectures.
Meatus is part of Suspended Moment: the Katthy Cavaliere Fellowship exhibition series. ACCA OPEN Launching August, September and October. Commissioning Curators: Max Delany, Annika Kristensen, Miriam Kelly. Six new commissions for the digital realm by Australian artists Archie Barry, Zanny Begg, Léuli Eshrāghi, Madeleine Flynn and Tim Humphrey, Amrita Hepi and Sam
Available from 13 July, artist and former IMA Brisbane director Peter Cripps on Recession Art and Other Strategies, accompanied by a response from artist and Bus Projects director Channon Goodwin. From 27 July, Djon Mundine’s timely and considered reflections on the process of commissioning The Aboriginal Memorial for the 1988 Biennale of Sydney will be available online. ACCA Book Club, a new regular Wednesday lunch-time online catch up about reading, writing and the arts, with special guests: 8 July writer and commentator Van Badham and on 29 July academic and activist Tony Birch.
Further details available via acca. melbourne/programs/ Artist studio tours, art-making activities for artists, students and families and ACCA publications are also available on the ACCA website.
Australian Print Workshop www.australianprintworkshop. com 210 Gertrude Street, Fitzroy, VIC 3065 [Map 3] 03 9419 5466 See our website for latest information.
Australian Tapestry Workshop www.austapestry.com.au 262–266 Park Street, South Melbourne, VIC 3205 [Map 6] 03 9699 7885 Tues to Fri 10am–5pm. Gold coin entry. Guided tours Wed at 11am and Thur at 2pm, $10 per person: bookings essential. During your visit you will have an opportunity to observe the ATW weavers at work on contemporary tapestries from our mezzanine, as well as look down into the colour laboratory where the yarns are dyed for production. The ATW has two galleries which feature curated exhibitions of tapestries, textiles and contemporary art on a rotating basis. Tapestries in progress on the looms include Plant Song by Janet Laurence and The Royal Harvest by Naomi Hobson.
ACCA → Archie Barry At home with groin bubble bird, 2019 (performance still), live performance, approximately 20 mins. Courtesy of the artist. Photograph Lucy Foster. 128
18 July—6 September Green world Wona Bae and Charlie Lawler, Naomi Eller, Nicole Foreshew, Teelah George, JW Lowe, James Morrison, Betty Muffler Green world offers a reflection on our engagement with nature through a lens of healing. Artists describe the ambiguities of our time by poetic means, variously examining the relationship between an individual and their surroundings and the role nature plays in human consciousness.
Benalla Art Gallery www.benallaartgallery.com.au Botanical Gardens, Bridge Street, Benalla, VIC 3672 [Map 1] 03 5760 2619 Wed to Mon 10am–5pm, closed Tue. See our website for latest information. Sharon Peoples, Melbourne Gardener, 2019/20, machine embroidery, nylon, rayon polyester thread, cotton, 162 x 92 cm. Photo by Marie-Luise Skibbe. 24 March—11 September Air19 Works by 2019 Artists in Residence at the ATW. Artists include: Adrian Lazzaro, Amanda Ho, Ana Teresa Barboza, Daniela Contreras Flores, Deborah Prior, Gosia Wlodarczak, Kate James, Lee Darroch, Nina Ross and Stephen Palmer, Roseanne Bartley, Rosie Westbrook, Sharon Peoples and Zela Papageorgiou.
Bayside Gallery
www.bendigoartgallery.com.au
Kirstin Berg, The Dreamers, 2018, bedframe, fence palings and floor boards found on the street, paint. Courtesy of the artist. 17 April—15 November Kirstin Berg: Still in Love with the World
James Morrison, Swampwort, 2018, oil on canvas, 51 x 42 cm. Courtesy of the artist and Darren Knight Gallery, Sydney.
from the artist’s private collection. As such, many of these works reflect Ken’s personal relationships with those closest to him, for example the large Judy canvas and the four quirky dog portraits and his immediate surroundings, primarily his home on Sydney’s Chinaman’s Beach. All of the paintings reveal Ken’s love of colour and of life. Ken Done’s first solo exhibition was held in Sydney in 1980. Since then, he has held over 50 one-man shows, including major exhibitions in Australia, Europe, Japan and the USA. His work has been described as the most original style to come out of Australia, and his paintings are in collections throughout the world.
Bendigo Art Gallery
www.bayside.vic.gov.au/gallery Brighton Town Hall, corner Carpenter and Wilson streets, Brighton, VIC 3186 [Map 4] 03 9261 7111 Wed to Fri 11am–5pm, Sat to Sun 1pm–5pm. Free entry. See our website for latest information.
Ken Done, Yellow beach #2, 2016, oil and acrylic on linen, 152 x 122 cm. Courtesy of the artist.
42 View Street, Bendigo, VIC 3550 [Map 1] 03 5434 6088 Licensed café open 8.30am–5pm seven days. Gallery and gift shop open daily 10am–5pm. See our website for latest information.
Still in Love with the World is a call to arms, exploring the artist’s “concern about the incessant misuse and skewed distribution of power in the world, our compromised environment, and the resulting anxiety many of us share about the future.” Berg ponders, “how do we remain ‘still in love with the world’ when we are up against seemingly insurmountable human and environmental trouble? How can we activate ourselves and ensure resilience?” The exhibition explores rituals and gestures of self-preservation and reinvention as a means of reconnecting to the physical world and as a form of human solidarity and resistance.
Bessie Davidson, Lecture au jardin, oil on wood. The Max and Nola Tegal Collection © AGS
30 July—25 October Paintings you probably haven’t seen Ken Done
28 March—26 July Two artists and the Parisian avant-garde Bessie Davidson and Sally Smart
Featuring a selection of paintings executed between 2000 and 2017 largely
28 March—18 October Ross Taylor: Field notes 129
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BLINDSIDE www.blindside.org.au Nicholas Building, 714/37 Swanston Street, (enter via Cathedral Arcade lifts, corner Flinders Lane), Melbourne, VIC 3000 [Map 2] Tue to Sat noon–6pm. See our website for latest information. BLINDSIDE provides unique experiences for artists and their development, always striving to expand the sphere of artistic practice and empowering artists to see into fruition bold and spectacular ideas.
Brunswick Street Gallery www.brunswickstreetgallery.com. au 322 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 8596 0173 Tue to Sun 10am–6pm, closed Mon. See our website for latest information.
1 July—18 July Tertulia Dalia Huerta, Ivan Puig, Yandell Walton, Nasim Nasr, Julia Barco, Ximena Cuevas.
Bunjil Place Gallery www.bunjilplace.com.au 2 Patrick Northeast Drive Narre Warren VIC 3805 [Map 4] 03 9709 9700 See our website for latest information. Bunjil Place is the first facility of its kind, bringing together creativity, entertainment and community in a way that is unparalleled in Australia. As the City of Casey’s treasured entertainment precinct, it brings together an unprecedented mix of facilities including an outdoor community plaza, theatre, multipurpose studio, function centre, library, gallery and City of Casey Customer Service Centre all in one place.
Curators: Claudia Hogan and Carla Serrano.
Sebastian Jarmula, Gravitational Redshift, colour giclée print, 80 x 80cm. 10 July—28 July A Concrete Blush Eric Henshall Emma Hamilton, Photographic Tunnelling (Research Image), 2018, digital photograph. Courtesy of the artist. 1 July—18 July Photographic Tunnelling Emma Hamilton 22 July—8 August Ngurrbul Which means: Love, amorous and friendship (noun) First Nations Exhibition Project
Human(e) Cara Coombe Cereal Pest Mark Betts Doomsday Sebastian Jarmula Systems we have loved Violet Aisling MacDonald Human Experiences Kate Orpen
Curated by Peter Waples-Crowe.
Tyler Mitchell, Untitled (Hijab Couture), New York, 2019. © Tyler Mitchell. 1 July—27 September The New Black Vanguard: Photography between Art and Fashion The New Black Vanguard presents vibrant portraits and conceptual images that fuse the genres of art and fashion photography in ways that break down long-established boundaries. Photographs by Campbell Addy, Arielle Bobb-Willis, Micaiah Carter, Awol Erizku, Nadine Ijewere, Quil Lemons, Namsa Leuba, Renell Medrano, Tyler Mitchell, Jamal Nxedlana, Daniel Obasi, Ruth Ossai, Adrienne Raquel, Dana Scruggs, and Stephen Tayo.
Audrey Tan and John Brooks, installation detail of match your socks to your shoes so they look like strange boots, 2019, collected apple seeds, fibreglass resin, keychain, steel, turquoise beads, plastic pearl, paper pulp, t-shirt, house paint, ribbon. Courtesy of the artists. 12 August—29 August P.E.T.S. (Psychometric Empathetic Telepathic Stuff) John Brooks and Audrey Tan 12 August—29 August A sonorous draft; a lexicon of windjamming Abbra Kotlarczyk
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Corpse Veronese, The Room, 2020, willow, compressed charcoal, gesso, paper, 84.1 x 118.9 cm.
Exhibition organized by Aperture, New York. Curated by Antwaun Sargent.
31 July—16 August Just Breathe Rhonda Goodall-Kirk
Bundoora Homestead Art Centre
Night Compositions Marco Martucci Plague year Corpse Veronese Visceral Viscera Evelyn Burns 21 August—3 September Small Works Art Prize Keeping my distance Mr Dimples
www.bundoorahomestead.com 7 Prospect Hill Drive, Bundoora VIC 3083 [Map 4] 03 9496 1060 Thu to Sun 10am–5pm. See our website for latest information. 30 May—30 August A1 Darebin Art Salon
of new media on human activities. The Otolith Group derives its name from a structure in the inner ear that plays a decisive role in our sense of balance and orientation.
CAVES www.cavesgallery.com Room 5, Level 8, 37 Swanston Street, (The Nicholas Building), Melbourne, VIC 3000 [Map 2] Wed to Sat, 12noon–5pm. See our website for latest information
The A1 Darebin Art Salon celebrates art, expression and creativity in our community. The exhibition showcases new works by artists who live, work or study in the City of Darebin. Displayed throughout every room of the Homestead, the Salon demonstrates the talent and diversity of creative expression in Melbourne’s inner north.
Arini Byng, (indistinct chatter), 2018, video still from single channel high definition colour video with sound, 12.58 minutes loop. 24 July—11 October (gallery) No True Self Arvida Byström, Thibaut Henz, Artor Jesus Inkerö, Hanna Putz, Jana Schulz, Andrzej Steinbach, and Thomas Taube. Curated by David A. Kerr.
Buxton Contemporary www.buxtoncontemporary.com Corner Dodds St and Southbank Boulevard, Southbank. [Map 2] 03 9035 9339 See our website for latest information.
Kristina Tsoulis-Reay, Untitled, detail, 2019, oil on linen on board, 20 x 17 cm. 19 June—18 July Noriko Nakamura and Inbal Nissim 24 July—22 August Kristina Tsoulis-Reay
Installation view, The Otolith Group: Xenogenesis, Buxton Contemporary, The University of Melbourne 2020, with O Horizon, 2018, still. Courtesy of the Otolith Group and LUX, London © the artists, photography Christian Capurro. The Otolith Group: Xenogenesis Curated by Annie Fletcher This exhibition presents a cross section of work by The Otolith Group, created between 2013 and 2018. The title of the exhibition is derived from the science fiction trilogy Xenogenesis (1987–89) by the African American writer Octavia E. Butler The Otolith Group was founded in London in 2002 by artists and theorists Anjalika Sagar and Kodwo Eshun. Their work draws on science fiction, sound and music, Afrofuturism, colonial and postcolonial histories and many other related bodies of knowledge out of which they forge videos and installations. Part fiction and part documentary, the films and installations of The Otolith Group engage with major contemporary global issues: what we have inherited from colonialism, the way in which humanity has damaged the earth, and the influence
28 August—26 September Beau Emmett, Jordan Halsall, John-Elio Reitman, Victoria Stolz. Curated by Kathryne Genevieve Honey.
Charles Nodrum Gallery www.charlesnodrumgallery.com.au 267 Church Street, Richmond, VIC 3121 [Map 6] 03 9427 0140 Tue to Sat 11am–6pm.
Centre for Contemporary Photography www.ccp.org.au 404 George Street, Fitzroy, VIC 3065 [Map 3] 03 9417 1549 Fri to Sun 11am–5pm. See our website for latest information. 19 June—9 July (online) Moving Images No country, no home Miriam Charlie 10 July—30 July (online) Moving Images (indistinct chatter) Arini Byng 31 July—20 August (online) Moving Images Rumba Sola and Primitive Nostalgia Caroline Garcia
Samara Adamson-Pinczewski, Faceted Facades (Wobbly), 2019, acrylic, iridescent acrylic, fluorescent acrylic and Topcoat with UVLS on canvas, 183 x 137 cm. 22 August—12 September Sinuous Spheres Samara Adamson-Pinczewki 131
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Counihan Gallery → Taree Mackenzie, Pepper’s Ghost, 2018. Triangles, cyan and red acrylic, MDF, reflective tint, LED’s, mirror ball motor, paint. Wood, vinyl, light box elements, reflective screen, hanging sculptures, brackets. Dimensions variable. Photo: Christo Crocker. Image courtesy of the artist, photographer and Neon Parc.
Counihan Gallery www.moreland.vic.gov.au 233 Sydney Road, Brunswick, VIC 3056 [Map 5] 03 9389 8622 Wed to Sat 11am–5pm, Sun 1pm–5pm. Free entry. See our website for latest information. 1 August—13 September The Space We Live, the Air We Breathe Darren Sylvester, Naomi Eller, Yhonnie Scarce, Raafat Ishak, Louise Paramor, Helga Groves, Taree Mackenzie, Steaphan Paton, Steven Rendall, Leslie Eastman, Jon Campbell, Destiny Deacon and Virginia Fraser. Curated by Matthew Perkins and Jan Duffy. 18 July—13 August Towards the ‘Big Picture’ William Kelly
1 August—29 August Winter Night Screen: Nearness of the Distant Cate Consandine, Simone Slee, Yandell Walton and Kawita Vatanajyankur. Curated by Nicola Bryant.
Craft Victoria www.craft.org.au Watson Place, Melbourne, VIC 3000 [Map 2] 03 9650 7775 Mon to Fri 11am–6pm, Sat 11am–4pm. Free entry. See our website for latest information. Until 18 July Objects of Love Vipoo Srivilasa, Cyrus Tang, Kate Just, Zaiba Khan and Varuni Kanagasundaram Objects of Love presents artworks which symbolise and reflect love of all kinds across cultures. Until 18 July Online exhibition: The Meaning of Things For The Meaning of Things, Craft presents a vibrant cabinet of curiosities showcasing eclectic objects and artworks from makers’ personal collections. Accompanying stories share a glimpse into each object’s significance.
Kawita Vatanajyankur, Carrying Pole, 2015, image still from HD video. Image courtesy of the artist. 132
connected to handmade practice. On until 18 July, then remains as an online archive for the rest of the year.
Exploring objects as vessels of emotion and meaning, The Meaning of Things presents pieces that are either handcrafted or
Carolyn Menzies, Steelo, 2019. Image courtesy the maker. 23 June—25 July Members’ Vitrine Gallery: Steelo Carolyn Menzies Steelo explores the intersection between modern art and domestic labour. Sculptures formed from long rolls of steel wool and mesh evoke the gravitas of stone with the softness and sensitivity of wool; a back and forth between the domestic to the industrial. If the steel stands as a signifier of industrialization and alienation, the act of wrapping, looping, knitting and knotting of the steel wool to create haptic and organic forms gently suggests an alternative – a more inclusive, mutable world.
18 July—15 August MELT Roger Byrt
The Dax Centre www.daxcentre.org 30 Royal Parade, Kenneth Myer Building, University of Melbourne, Parkville, VIC 3010 [Map 5] 03 9035 6610 See our website for latest information. The Dax Centre provides artists with lived experience of mental health issues opportunities for creative expression while fostering social change by expanding the public’s awareness of mental illness and breaking down stigma through art. Mabel Juli, Doomboony, ochres on canvas, 60 x 60 cm. Courtesy of the artist and Warmun Arts.
Kate Elsey, Capturing Winters Moon, oil on linen, 142 x 182 cm. 29 August—26 September Kate Elsey
Federation University Betty Muffler, Ngangkari Ngura (Healing Country), acrylic on linen, 167 x 198 cm. Courtesy of the artist and Iwantja Arts. Del Kathryn Barton, the glow is freed, 2020, acrylic, gouache, oil stick, dupion silk border on paper, 155 x 110 cm. Spring 2020 Child and Mother Curated by Del Kathryn Barton and inspired by the impressive oeuvre and unique aesthetic of Patricia Stewart, Child and Mother is a rich visual exploration of relationships and connection. Featuring new works by Del Kathryn Barton, Patricia Stewart, and works from the Cunningham Dax Collection.
Everywhen Artspace
August Wildlife! A celebration of Australia’s indigenous animals, birds, fish and reptiles in Aboriginal art from the quirky to the sublime. Paintings, carvings, weavings.
www.federation.edu.au/pogallery Post Office Gallery, School of Arts, Federation University Australia, Building P, Camp Street Campus, Cnr Sturt & Lydiard Street, Ballarat, VIC 3350 03 5327 8615 Wed to Sat, 12noon–5pm, other times by appointment. See our website for latest information.
Eastgate Gallery www.eastgatejarman.com.au 158 Burwood Road, Hawthorn, VIC 3122 [Map 6] 03 9818 1656 Mon to Fri 9am–5pm, Sat 10am–4pm. See our website for latest information.
www.mccullochandmcculloch.com.au 39 Cook Street, Flinders, VIC 3929 [Map 1] 03 5989 0496 Open Fri to Tue 10am–11am and 4pm–5pm Private viewings welcome See our website for latest information.
Graeme Drendel, The Trance, 2019, oil on canvas, 197 x 183 cm. Courtesy the artist and Australian Galleries, Melbourne. 14 March—5 September Graeme Drendel: The Messengers
July In Black & White + Top End Sculptures Paintings, barks and ochres in black and white from around Australia, plus ceremonial poles, Mimih figures and fibre sculptures by leading artists of Buku Larrnggay Mulka and Maningrida Arts and carvings from Tiwi Design.
Roger Byrt, Icefall, oil on linen, 198 x 198 cm.
In an important solo exhibition, renowned Graeme Drendel showcases a new series of oils on canvas with characters set in familiar yet strange landscapes that reflect the dichotomies of life and the many questions and unanswered states of the human condition. 133
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Finkelstein Gallery www.finkelsteingallery.com Basement 2, 1 Victoria Street, Windsor, VIC 3181 [Map 6] 0413 877 401 Wed to Fri 11am–5pm, Sat 12noon–5pm. See our website for latest information.
16 June—11 July Full Circle Dion Horstmans Labyrinth Richard Blackwell
Fox Galleries www.foxgalleries.com.au 79 Langridge Street, Collingwood, VIC 3066 [Map 3] 03 8560 5487 Tue to Sat 10am–6pm. See our website for latest information.
Kathrin Longhurst, Cracked but not Broken, 2020, oil on linen, 90 x 90 cm. 15 July—8 August Standing Strong Kathrin Longhurst 11 August—5 September The Light Within Melanie McCollin-Walker New Works Ken Smith
Cigdem Aydemir, Veils on Veils (Beth), c-type print, 120 x 90 cm. 2 July—13 August Like A Prayer Cigdem Aydemir
Flinders Lane Gallery www.flg.com.au
fortyfivedownstairs www.fortyfivedownstairs.com 45 Flinders Lane, Melbourne, VIC 3000 [Map 2] 03 9662 9966 Tue to Fri, 11am–5pm, Sat, 11am–3pm. See our website for latest information.
Level 1, Nicholas Building, corner Flinders Lane and 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9654 3332 Tue to Fri 11am–6pm, Sat 11am–5pm. See our website for latest information.
Barry Tate, Self portrait in response to the Coronavirus, 2020, oil on canvas, 172 x 122 cm. 3 July—2 September The Winter of Disconnect, The Great Indoors Barry Tate and Matthew Clarke
Frankston Arts Centre www.thefac.com.au 27–37 Davey Street, Frankston, VIC 3199 [Map 4] 03 9768 1361 Opening hours. See our website for latest informatio.n
fortyfivedownstairs gallery. fortyfivedownstairs gallery is currently closed to the public. You can keep up with us online at fortyfivedownstairs.com and on our Facebook and Instagram @fortyfivedownstairs to see what’s coming up, and for a dive into our archive. Please consider supporting our Drive to Survive via our website, so we can welcome you back into the gallery soon.
Dion Horstmans, No1, 2020, mild steel, 660 x 450 x 140 mm, 6 mm. 134
FAC & Cube Gallery Hire 2021 Frankston Arts Centre is a thriving cultural hub and one of Australia’s largest metropolitan regional arts venues with six gallery spaces currently taking applications to exhibit. Glass Cube Gallery is ideal for large scale sculptural installations and video art pro-
jections and exhibitions can be viewed day and night from the Cube 37 street front. Glass Cube + Art After Dark Kathleen Gonzalez, Maria Esther Pena Briceno and Sebastian Barahona.
and social distancing regulations enforced. If you are unable to visit the Gallery in person, visit our website to discover curator’s insights, learn more about the works on display at geelonggallery.org.au.
6 August—3 October EQUILIBRIUM Interconnectedness A sculptural installation that interweaves experimental music, visuals and life ritu als, celebrating the winter solstice from diverse cultural backgrounds.
critically acclaimed as one of Australia’s leading contemporary artists. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. Redgate is well known for her sculptural and photographic works using systems and logic, and particularly for her sustained series of ‘mirror’ works over the past two decades that have engaged with optical phenomena, ‘perceptual dislocations’ and slippages between representation and abstraction. Jacky Redgate – HOLD ON presents the most recent iteration of her mirror series based on ten years of experimental ‘hybrid’ mirror works.
Gallery Elysium www.galleryelysium.com.au 440-444 Burwood Road, Hawthorn VIC 3122 [Map 4] 0417 052 621 Tues 1pm–6pm, Wed to Fri 10.30am –4.15 pm, Sat 1pm–5.30pm, Sun 11am–5.30 pm. See our website for latest information.
Gertrude Contemporary www.gertrude.org.au
Kate Beynon, Demi-Ghost guardian with tangerine and kindred spirits, 2018, watercolour, gouache, metallic pigment and pencil on cotton rag. Courtesy of the artist and Sutton Gallery, Melbourne. © Kate Beynon. Until 15 November Collection leads: Kate Beynon – kindred spirit
Elio Sanciolo, Bellum-Conversationum Aeternam, oil on canvas, 190 x 190 cm. Online When Words Fail Elio and Bart Sanciolo A sculpture and painting exhibition by two brothers, Bart and Elio Sanciolo. Each is an established artist whose works are represented in international and national collections. These new artworks present a visual exploration of how meanings are drawn from the relationship between words and images. This exhibition of painting and sculpture will inspire and challenge the viewer to contemplate the artists’ intentions and explore new ways of imagining. View and purchase works online.
Kate Beynon ’s Graveyard scene/the beauty and sadness of bones (2014–15) —winner of the 2016 Geelong contemporary art prize—is based on a scene from An-Li: a Chinese ghost tale, the artist’s re-telling of a supernatural story of two young spirits who traverse opposing worlds: one aquatic, the other earthly. This ‘Collection leads’ exhibition includes watercolours, paintings and soft sculptures that expand on the story of An-Li and provide greater insights to Beynon’s practice in which she merges diverse pictorial traditions with personal histories to address issues of hybridity, cultural identity and feminism.
21–31 High Street, Preston South, VIC 3072 [Map 5] 03 9419 3406 Tue to Fri, 11am–5:30pm, Sat to Sun 11am–4:30pm. See our website for latest information. Gertrude Glasshouse: 44 Glasshouse Road, Collingwood VIC 3066 Thu to Sat, 12–5pm. See our website for latest information.
Hope in the Dark, installation view at Gertrude Contemporary featuring works by Simon Zoric and Darren Sylvester. Photo: Christan Cupurro. Until 1 September Gertrude Contemporary: Hope in the Dark Sarah Brasier, Kiron Robinson, Simon Zoric, Lewis Fidock and Joshua Petherick, Amrita Hepi and Darren Sylvester.
Geelong Gallery www.geelonggallery.org.au 55, Little Malop Street, Geelong, VIC 3220 [Map 1] 03 5229 3645 Director: Jason Smith Daily 10am–5pm. Free entry. See our website for latest information. Geelong Gallery will reopen to the public on Monday 22 June with restricted capacity
Jacky Redgate, HOLD ON #3, 2019–20, pigment ink on fabric. Courtesy of the artist and ARC ONE Gallery, Melbourne. © Jacky Redgate. Until 14 February 2021 Jacky Redgate – HOLD ON Redgate has a 40 year practice and is
Grant Stevens, Just Dawn, 2014, digital video, 3 min 15 sec, installation view at Gertrude Glasshouse. Image courtesy of Gertrude Contemporary. Until 1 September Gertrude Glasshouse: Hope in the Dark Grant Stevens 135
ar t g ui d e .c o m . au Gertrude Contemporary continued... Online Missing Links Missing Links takes form as Gertrude’s evolving response to and reflection upon an upended world now experienced in isolation. Incorporating an expanding series of musings contributed by exhibiting and Studio Artists at Gertrude focusing on artworks that are missed and longed for as a physical, sensorial encounter, Odes to the Absent evolves as an archive of love letters to artworks from which we are now separated. Working with our friends at Bus Projects, Missing Links includes podcasts of Gertrude Studio Artists in discussion through the series Gertrude Talks, presented weekly on Bus Radio with host and current Gertrude Studio Artist Georgia Banks. View here: www.gertrude.org.au/missing-links
Hearth Galleries www.christinejoycuration.com 208 Maroondah Highway, Healesville, VIC 3777 Wed to Sun 10am–4pm [Map 4] 0423 902 934
Contemporary ethical Aboriginal art.
Hatch Contemporary Arts Space
Joy Hester, Untitled (From the Love series), 1949, brush and ink and mauve pastel on paper, 31.6 x 25.2 cm. National Gallery of Victoria, Melbourne Purchased 1976 ©Joy Hester/Copyright Agency 2019.
www.banyule.vic.gov.au/Hatch 14 Ivanhoe Parade, Ivanhoe, VIC 3079 [Map 4] 03 9490 4370 Tue to Sat 10am–5pm. See our website for latest information Gallery will be open to public with access limited according to Govt. regulations at the time. Gallery opening times TBC, please check the webpage for updates, or call us. There will be video components released each day online, so please visit the website for further content.
Wilma Napangardi Poulson, Animals Around Yuendumu, acrylic on Belgian linen, 76 x 61 cm. 6 August—4 October Animal People – sentience, reciprocity and kinship Karen Napaljarri Barnes, Murdie Nampijinpa Morris, Wilma Napangardi Poulson, Baluk Arts, Amanda Wright and Peter Waples-Crowe.
Heide Museum of Modern Art www.heide.com.au
Jutta Pryor, Interval, 2020, image still from video, 2020. 5 August—29 August Liminal // A shared distance
30 June—14 March Marking the Past Albert Tucker
7 Templestowe Road, Bulleen, VIC 3105 [Map 4] 03 9850 1500 Tue to Sun 10am–5pm. See our website for latest information.
30 June—4 October Remember Me Joy Hester 30 June—11 October Fistimuff Archie Barry 30 June—8 November House of Ideas
Horsham Regional Art Gallery www.horshamartgallery.com.au 80 Wilson Street, Horsham, VIC 3400 [Map 1] 03 5382 9575 Mon to Fri 10am–5pm, Sat and Sun 12pm–4pm. See our website for latest information.
30 June—27 September Memory Horizon Carolyn Eskdale
In these uncertain days we are all sharing distance while attempting to retain connection and community. There is no map of this terrain, art provides only cryptic signposts. We will only recognise our destination when we stumble upon common ground and meaning shared across the distances of space and time. Liminal // A shared distance is a collective response to the current situation by Banyule artists, makers, performers and poets. Occupying both physical and virtual sites, Liminal explores the concrete and temporal margins between artist and audience as a place where meaning is created, debated and shared. 136
Albert Tucker, Mourning Disciples, 1955, oil on composition board, 78.5 x 127 cm. Heide Museum of Modern Art. Donated through the Australian Cultural Gifts Program by Barbara Tucker 2015 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art.
Janina Green, Kew, created 1986, printed 2017, inkjet print on Ilford Gallerie gold fibre silk, 44 x 42 cm. Horsham Regional Art Gallery Collection. Gift of Helen Frajman, 2018. 1 July—11 October Re-discovered, from the Collection
While the Gallery has been in shutdown we have been working intensely with the Permanent Collection, documenting each work as part of Creative Victoria’s Regional Digitisation Roadshow. This unique opportunity to focus exclusively on the Collection has provided us with the opportunity to view and assess each work. Now old favourites and re-discovered works have been developed into a suite of new displays to celebrate the Collection and our community as we re-open.
Megan Evans, Proof, 2017, found chaise longue, rabbit fur, Victorian double barrel and single barrel rifles, star pickets, embroidery cotton, glass beads. Courtesy of the artist. Photo: Mathew Stanton. 8 August—11 October UNstable – KELOID #7 Megan Evans Since 2014 Evans has used the KELOID project to examine the traces of early colonial history on her identity and the impact that history continues to have on society. Evans is of Scottish, Irish and Welsh heritage, born on Wurundjeri land, and looks at the role of the coloniser and
its impact from the perspective of a descendant of a settler/colonial family.
Incinerator Gallery www.incineratorgallery.com.au 180 Holmes Road, Moonee Ponds, VIC 3039 [Map 4] 03 9243 1750 Tue to Sun 11am–4pm. Free entry. See our website for latest information.
Hannah Brontë, Pisces King, 2019, video still, 4 min 21 sec. 19 June—16 August Fluidity Lucreccia Quintanilla, Zainab Hikmet, Tamara Baillie, Friends of Merri Creek, Tané Andrews, Peta Clancy, Edwina Green, Wetlands Project, Yandell Walton and Hannah Brontë. Fluidity is an exhibition presented on-site at Incinerator Gallery, and as an online resource via the Gallery’s website. It explores the force of soft power to affect change in the world through the political and poetic navigation of water. Fluidity
brings together newly commissioned works by some of Australia’s foremost contemporary artists, as well as works curated from the City of Moonee Valley Art Collection. These are presented alongside long-standing ecological projects that celebrate sustainable and healthy waterways in Melbourne’s North West.
Kingston Arts www.kingstonarts.com.au G1 and G2, Kingston Arts Centre, 979 Nepean Highway (corner South Road), Moorabbin, VIC 3189 [Map 4] Mon to Fri 9am–5pm, and Sat noon–5pm. G3 Artspace, Shirley Burke Theatre, 64 Parkers Road, Parkdale Wed to Fri 9am–5pm and Sat noon-5pm. (03) 9556 4440 See our website for latest information. 12 June—11 July Kingston Arts Online: Formerly Nèe Jacqui Gordon Formerly Née is a contemporary workshop and online exhibition by Arts Grant recipient and visual artist, Jacqui Gordon. The project follows the artist’s journey to connect with her maternal lineage by posing the question, ‘What would my surname be today if the tradition were to take my mother’s name?’ The exhibition draws upon real and imagined herstories contributed by community workshop
Kingston Arts → Jacqui Gordon, Who’s going to run the matriarchy?, 2020. 137
ar t g ui d e .c o m . au Kingston Arts continued... participants to create a new archive and rediscover the stories left behind. Online launch Friday 12 June. Visit kingstonarts.com.au.
Lamington Drive www.lamingtondrive.com 52 Budd Street, Collingwood, VIC 3066 [Map 18] 03 8060 9745 See our website for latest information.
Lauraine Diggins Fine Art www.diggins.com.au
Sofie Dieu, Women’s narratives by the river, 2019. 18 August–19 September G1+G2: Longing for home Sofie Dieu Longing for home is a new exhibition presented by French artist, Sofie Dieu. The exhibition is the outcome of a series of community workshops inviting female and non-binary identifying textile practitioners to share their diverse experiences of migration through art and storytelling.
5 Malakoff Street, North Caulfield VIC 3161 [Map 6] 03 9509 9855 Tue–Fri, 10am–6pm. Other times by appointment. Please contact the Gallery prior to visiting. See our website for latest information. Specialists in Australian colonial, impressionist, modern, contemporary and Indigenous painting, sculpture and decorative art. Sourcing European masterworks on request.
Leigh Hobba, Any Which Way (film still), 2007, video installation, silent, dimensions variable. Courtesy of the artist. 29 February—2 August Any Which Way Leigh Hobba A compelling video installation that makes one consider time and presence. 7 March–26 July CONTEMPORARY WOMEN: Artworks from the Latrobe Regional Gallery Collection Artists in this collection exhibition include Rosalie Gasgoine, Fiona Hall, Ex De Medici and Rosalind Atkins, Mandy Gunn and more. 11 July–25 October Electric Selected artworks from the Latrobe Regional Gallery collection.
The exhibition sews together the individual embroideries created during the workshops to make a collaborative textile work. Paying tribute to the unique experiences of each practitioner, this project brings our community together to reflect on migration and belonging in relation to our feelings of home.
Koorie Heritage Trust www.koorieheritagetrust.com.au Yarra Building, Federation Square, Melbourne, VIC 3000 [Map 2] 03 8662 6300 Open daily 10am–5pm. See our website for latest information.
Thea Proctor, 1879–1966, The Game, 1926, hand coloured woodcut on paper, 15.5 x 15.2 cm. © Art Gallery of New South Wales. 25 March—31 July Innovative Australian Women Celebrating women artists who led the way by challenging traditions, exploring new ideas and influencing the direction of Australian art.
Alison Nampitjinpa, Honey Ant Dreaming, 1990, acrylic on canvas, 122 x 92 cm, Cbus Collection of Australian Art. 25 July–17 October Papunya Tula Indigenous artworks from Papunya Tula from the Cbus Collection of Australian art. 15 August–8 November Transparent Reflections Andrea McCallum
Paola Balla (Wemba Wemba, Gunditjmara), The Mok Mok Cooking Show II, 2016, digital pigment print on 188gsm Photorag, 60 x 84 cm. Collection of the artist. 23 April—23 August Affirmation Paola Balla, Deanne Gilson, Tashara Roberts and Pierra Van Sparkes. 138
Latrobe Regional Gallery www.latroberegionalgallery.com 138 Commercial Road, Morwell, VIC 3840 [Map 1] 03 5128 5700 Mon to Fri 10am–5pm, Sat, Sun & public holidays 11am–4pm See our website for latest information.
A Gippsland artist who explores her themes in a range of media including ceramics and felt. 22 August–15 November Do you remember? An exhibition of childhood memories John Abery Local artist John Abery remembers his worldview as a child.
Linden New Art www.lindenarts.org 26 Acland Street, St Kilda, VIC 3182 [Map 6] 03 9534 0099 Tue to Fri, 11.30am–1pm, and 2pm–3.30pm. See our website for latest information.
artists. The gallery established a formal program in 2019, which provided the opportunity to work with a select number of artists in depth and to foster the critical development of their practices. The gallery represents a small number of artists and has a strong curatorial focus on thematic group exhibitions. 
Until 30 August My Mother’s Keeper Karla Dickens
597 Church Street, Richmond, VIC 3121 [Map 6] 03 9421 3525 Mon to Wed 9am–5pm, Thu and Fri 9am–6pm, Sat and Sun 10am–5pm. See our website for latest information.
Pawlok has specialised in his own colourful brand of photographic archaeology for many years, establishing an extraordinary new vintage of photography.
Until 30 August The Long Shot Jacqui Stockdale
15 July—29 July Visions of Nature
LON Gallery www.longallery.com
LON Gallery began as a project space in 2016 based on a unique non-profit model that primarily supported emerging
www.au.lumas.com
1 July—15 July Autumn 2020 New Releases Werner Pawlok
Until 30 August Routes / Roots Robert Fielding
21 Easey Street, Collingwood, VIC 3066 [Map 3] 0400 983 604 Thurs to Sat 12noon–5pm. See our website for latest information.
LUMAS Gallery
Kez Hughes, Ali McCann, Diminished Knowledge, CAVES, 2018, oil on linen, 40 x 50 cm, 2020. 8 July—1 August Kez Hughes 5 August—29 August Dord Burrough
Nature holds an immeasurable bounty of beautiful forms. If you were to put the tiniest fraction side by side, it would be the most dazzling collection in the world. Art does just that: selects and assembles. 29 July—12 August The Power of Black and White In black-and white photography, the world is covered with a razor-thin film of silver and held spellbound for one surprising moment. Black and white has a truly
Linden New Art → Robert Fielding, Echoes #2 (Kapi Pilki Kapi Ilu), detail, 2019, C-type print on lustre paper, 80 x 120 cm. Image courtesy of the artist, Mimili Maku Arts and Blackartprojects. 139
ar t g ui d e .c o m . au LUMAS continued...
9 July—22 August Reflections: Where am I in this Community? This year’s rescheduled National Reconciliation Week exhibition features the work of two emerging artists from regional Victoria, Taungurung photographer and designer Maddi Moser and artist-educator Troy Firebrace.
Michael Levin, Meoto Iwa. sculptural power. It can create hard contrasts or render vast landscapes in matte and silky shades of grey.
Moser’s series Reflections is a collection of artworks that explores our personal connections in our lives and the many communities we exist in. Firebrace’s vivid designs are inspired by street art, the environment and experiences from his life and culture, and emerge from a process of introspection aimed at understanding both his individual and cultural identity.
McClelland Sculpture Park + Gallery www.mcclellandgallery.com 390 McClelland Drive, Langwarrin, VIC 3910 [Map 4] 03 9789 1671 Tue to Sun 10am–5pm. See our website for latest information. McClelland is temporarily closed to the public as per current health advice relating to COVID-19. Please check our website for updates on exhibition dates in the coming months.
Ysabel Lemay, Bloom.
What if the magical moment of a flower blooming never passed? That is the concept in exploration for this exhibition, guiding us to a single conclusion: A flower wilts, but beauty lasts forever.
www.manningham.vic.gov.au/gallery Manningham City Square (MC²), 687 Doncaster Road, Doncaster, VIC 3108 [Map 4] 03 9840 9367 Tues to Sat 11am–5pm. Free entry. See our website for latest information.
www.milduraartscentre.com.au 199 Cureton Avenue, Mildura, VIC 3500 [Map 1] 03 5018 8330 Open Daily 10am–5pm. See our website for latest information.
Kristan Emerson, Can’t See the Florist for the Flowers (Solo, Java, Indonesia. July 2019). Ongoing throughout July and August The Regional Digitisation Roadshow The Regional Digitisation Roadshow is in full swing at Mildura Arts Centre. With funding support provided by Creative Victoria’s Strategic Initiatives program, artworks and objects from the Mildura Arts Centre Collection are being photographed and scanned with the intention of publishing the digitised items online at victoriancollections.net.au. This Regional Digitisation Roadshow is supported by the Victorian Government through Creative Victoria. 2 July—13 September Blurry Borders Kristan Emerson
12 August—26 August Forget Me Not
Manningham Art Gallery
Mildura Arts Centre
Erwin Fabian, installation view, Inside Out: Space and Process - Erwin Fabian & Anne-Marie May, McClelland Sculpture and Gallery, 2020. Image courtesy of the Estate of Erwin Fabian, Australian Galleries, and Robin Gibson Gallery. Photo: Christian Capurro.
Photographer Kristan Emerson has been shooting the world on his overseas travels since 2016. On their own, the photographs are beautiful—but take into account that the photographer has 3% vision in only one eye and you won’t believe what he can capture. Blurry Borders features images from Pakistan, Myanmar, India, Indonesia and Bangladesh. The photographs were taken as a way for Kristan to see and experience the world using digital technology. ‘My eyes do not have lenses but my camera does. It is my way of seeing detail in an otherwise blurry world.” Kristan’s photographs are accompanied by his unique stories of the places he has visited. The narratives also describe how and why he takes photographs while being legally blind.’ 9 July—6 September MidNAG (Mid-Northumberland Arts Group) Poetry Posters Mildura Arts Centre Collection.
Maddi Moser, Between the Rivers and Mountains, 2020, mixed media digital painting. Image courtesy of the artist. 140
Anne-Marie May, installation view, Inside Out: Space and Process - Erwin Fabian & Anne-Marie May, McClelland Sculpture and Gallery, 2020. Courtesy of the artist and Murray White Room, Melbourne. Photo Christian Capurro. Inside Out: Space and Process Erwin Fabian and Anne-Marie May
A selection of poetry posters from the Mildura Arts Centre Collection created by the MidNAG (Mid-Northumberland Arts Group) in the 1970’s. 16 July—13 September Dreams of Another Life Pia Larsen This exhibition contemplates the passage of migration—the act of leaving one place
The more you see the more you find to see and wonder. With an ornate, whimsical saturation of colour, Jewitt’s works are both charming and voluptuous. In this series of paintings Jewitt continues to focus on everyday subject matter that’s hidden within his signature chaotic image construction.
Monash Gallery of Art www.mga.org.au 860 Ferntree Gully Road, Wheelers Hill, VIC 3150 [Map 4] 03 8544 0500 Tue to Fri 10am–5pm, Sat and Sun 12noon–5pm. (closed Mondays and public holidays) Gallery, gift shop, licensed café and sculpture park. See our website for latest information.
Monash University Museum of Art – MUMA www.monash.edu.au/muma Ground Floor, Building F, Monash University, Caulfield Campus, 900 Dandenong Road, Caulfield East, VIC 3145 [Map 4] 03 9905 4217 Tue to Fri 10am–5pm, Sat noon–5pm. Free admission. See our website for latest information.
Pia Larsen, We’ve golden soil and wealth for toil…, 2019. Pigment print and posca pen. Photo by Pia Larsen. to make a new life elsewhere. The subject, M, arrived in Australia as a 17-year-old in 1948 as part of Australia’s Mass Migration Scheme for Europe’s Displaced, post WWII. The work draws from research as well as a personal connection to M who worked for my parents and looked after me as a child. The archival and documentary source material has been manipulated and re-worked using collage, text and colour. Woven through this reappraisal of the historical narrative, and its iconography, are M’s unrealised dreams and hopes, suppressed by work and family responsibilities and the times in which she lived.
Samson Young, Possible Music #2, 2019, installation view, Real Music, Talbot Rice Gallery, University of Edinburgh, 2019. Photo: Sally Jubb.
Acknowledgements: National Archives of Australia; Bruce Pennay, Charles Sturt University; Bonegilla Migrant Experience; M Family Archive.
Civic Reserve, Dunns Road, Mornington VIC 3931 [Map 4] 03 5950 1580 Tue to Sun 10am–5pm Entry: $4 adults, $2 concession. See our website for latest information.
Modern Times www.moderntimes.com.au 311 Smith Street, Fitzroy, VIC 3065 [Map 3] 03 9913 8598 Mon to Sun 11am–4pm. See our website for latest information.
July—October Real Music Samson Young
Mornington Peninsula Regional Gallery www.mprg.mornpen.vic.gov.au
David Rosetzky, Rida, 2020, from the series Being ourselves, gelatin silver print, 58.5 x 44.5 cm. Collection of the artist. 15 February—25 October Portrait of Monash: the ties that bind In celebration of our 30th anniversary, MGA has commissioned four leading Australian artists to explore the City of Monash by responding to key issues facing the community—a reflection of the city as a microcosm of the nation. Peta Clancy, Lee Grant, Ponch Hawkes and David Rosetzky will each shine their own inimitable lens on their chosen topic of interest – local indigenous sites of significance, the migrant experience, homelessness, and the LGBTQI+ community.
Monash University MADA Gallery Christopher Jewitt, Precious, oil and acrylic on canvas, 240 x 180 cm. 6 August—18 August Hidden Narrative Christopher Jewitt
www.monash.edu/mada/galleries/ mada-gallery MADA Gallery is currently closed to visitors. To view our exhibitions visit our website.
eX de Medici, Red (Colony), 2000, watercolour on paper. Winner of National Works on Paper, purchased by Beleura – The Tallis Foundation, 2002. 1 July—22 November MPRG: FIFTY MPRG collection exhibition. MPRG: FIFTY celebrates the Mornington Peninsula Regional Gallery’s 50th anniversary with a large-scale exhibition that highlights the development and growth of this significant collection.
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newblankdocument.com
National Gallery of Victoria – NGV International www.ngv.vic.gov.au 180 St Kilda Road, Melbourne VIC 3004 [Map 2] 03 8620 2222 Open daily 10am–5pm. See our website for latest information.
27 June—30 August Colin McCahon: Letters and Numbers
27 June—9 August Marking Time: Indigenous Art from the NGV
27 June—9 August Liquid Light: 500 Years of Venetian Glass
Neon Parc
National Gallery of Victoria – The Ian Potter Centre NGV Australia www.ngv.vic.gov.au Federation Square, corner Russell and Flinders streets, Melbourne, VIC 3000 [Map 2] 03 8620 2222 Open daily 10am–5pm. See our website for latest information
www.neonparc.com.au City: 1/53 Bourke Street, Melbourne, VIC 3000 [Map 2] Brunswick: 15 Tinning Street, Brunswick VIC 3056 [Map 5] 03 9663 0911 See our website for latest information. 3 July—1 August Neon Parc Brunswick: Superpositions Damiano Bertoli 7 August—19 September Neon Parc Brunswick: Jamie O’Connell 3 July—8 August Neon Parc City: Melinda Harper 14 August—12 September Neon Parc City: Jamie O’Connell
Niagara Galleries www.niagaragalleries.com.au
Shibano Kiyosaku, To the sea, 1931, colour woodblock. National Gallery of Victoria, Melbourne. Purchased NGV Foundation, 2018.
Destiny Deacon, Kuku/Erub/Mer born 1957, Oz Games – Under the spell of the tall poppies, 1998 , lightjet photograph from Polaroid photograph, 80 x 100 cm. Courtesy of the artist © Destiny Deacon.
27 June—4 October Japanese Modernism
24 July—31 January 2021 DESTINY
27 June—30 August Collecting Comme
27 June—31 January 2021 Top Arts 2020
Until September 2019 Architecture Commission: In Absence Yhonnie Scarce and Edition Office.
245 Punt Road, Richmond, VIC 3121 [Map 6] 03 9429 3666 See our website for latest information.
Nicholas Thompson Gallery www.nicholasthompsongallery.com.au 155 Langridge Street, Collingwood, VIC 3066 [Map 1] 03 9415 7882 Tue to Sat, 11am–5pm and by appointment. See our website for latest information. 17 June–5 July Rhys Lee
Colin McCahon,, One, 1965, synthetic polymer paint and polyvinyl acetate on composition board, 60.9 x 60.9 cm. Purchased through The Art Foundation of Victoria with the assistance of National Gallery of Victoria, Melbourne. Mr Robert Raynor AM, Honorary Life Benefactor, 1999. © Colin McCahon Research and Publication Trust.
Lily Nangala Scobie (Miyangula), Ngapa Jukurrpa (Water Dreaming), 1986, gouache and pencil on paper, 59.2 x 41.6 cm (image and sheet). National Gallery of Victoria, Melbourne. Purchased through The Art Foundation of Victoria with the assistance of CRA Limited, Fellow, 1989 © Lily Nangala Scobie (Miyangula)/Licensed by Copyright Agency, Australia.
Amber Wallis, Women, 2020, oil on linen, 150 x 120 cm. 143
daxcentre.org
6 August to 4 October
Animal People – sentience, reciprocity and kinship
Karen Napaljarri Barnes, acrylic on Belgian linen, 91 x 61 cm.
Karen Napaljarri Barnes, Murdie Nampijinpa Morris, Wilma Napangardi Poulson, Baluk Arts, Amanda Wright and Peter Waples-Crowe.
Hearth Galleries
Contemporary ethical Aboriginal art 208 Maroondah Highway, Healesville VIC 3777 Wed to Sun 10am–4pm www.christinejoycuration.com.au e: chris@christinejoycuration.com 0423 902 934
christinejoycuration.com.au
Nicholas Thompson Gallery continued... 8 July—26 July Summoned Paintings Amber Wallis
Miranda Skoczek, The Green Window, 2020, oil on linen, 104 x 79 cm. 29 July—16 August Floating Moons, Dizzying Hues Mirana Skoczek 19 August—6 September Porthmeor Studio 5 Paintings Eleanor Louise Butt
individual women’s lives in the past. All of the women could be described as ‘wayward’. Either intentionally, or through force of circumstance, they transgressed society’s rules in some way. Some prospered, but others paid dearly for their actions. The women and girls featured in this exhibition all lived in Victoria in the decade from 1894–1904. It was a time of great privation for many people, with the economy in deep depression and unemployment high. There was little in the way of government assistance for those in need and the charitable organisations that tried to help had scant resources. Many were turned away. It was also a time when women and men were judged by very different moral standards. While a man’s indiscretions might be ignored, even expected, ‘fallen women’ were often judged harshly, at least by officialdom. Pregnant unmarried women could expect little sympathy and little help. The result was both predictable and tragic—what historians now call ‘reproductive crime’ was extremely common.
PG Printmaker Gallery www.printmakergallery.com.au 227 Brunswick Street, Fitzroy, VIC 3065 [Map 3] 03 9417 7087 Tues to Fri 10am–5.30pm, Sat 10am–5pm. See our website for latest information. Contemporary limited edition prints by Australian and international artists. PG Gallery supports a large number of the most important printmaking artists practicing today. Visit our online gallery and shop to discover hundreds of original contemporary works on paper.
Wayward Women? is presented by Old Treasury Building in partnership with the Public Record Office Victoria.
Old Quad www.about.unimelb.edu.au/old-quad
Old Treasury Building www.oldtreasurybuilding.org.au 20 Spring Street, Melbourne, VIC 3000 [Map 2] 03 9651 2233 Sun to Fri 10am–4pm, (last entry 3.45pm). See our website for latest information.
Building 150, The University of Melbourne, Parkville Campus VIC 3010 [Map 5] See our website for latest information.
The Old Treasury Building is widely regarded as one of the finest 19th century buildings in Melbourne. Sitting at the top end of Collins Street in the Melbourne CBD, The Old Treasury building was designed by nineteenyear-old architect JJ Clark and built between 1858 and 1862.
Kevin Foley, Glacier Bay, 2020, etching and aquatint, edition of 30, 33 x 29 cm.
Kevin Foley, Snow Drift, 2020, etching and aquatint, edition of 40, 36 x 25 cm. Kevin Foley
Sebastian Erard and Pierre Erard, London (makers), Orchestral harp, 1835. Grainger Museum Collection, University of Melbourne.
Kevin Foley is an experienced printmaker and educator from central Victoria. His recent travels throughout Alaska and Canada inspired his recent landscape etchings.
3 August – 4 December Multivocal
24 June 2019—June 2021 Wayward Women?
Multivocal celebrates the creation, performance and experience of music at the University of Melbourne, past and present. Showcasing the cultural collections of the University that focus on music in its many forms, the objects in the exhibition provide a platform for contemporary responses to a long history of musical activity in this place, in the form of new commissions and performance-based events.
QDOS Fine Arts www.qdosarts.com 35 Allenvale Road, Lorne, VIC 3232 [Map 1] 03 5289 1989 See our website for latest information.
This exhibition presents ten stories about 145
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Maritime Art Prize & Exhibition 2020 Explorations of human endevours and the oceans Mission to Seafarers Melbourne October 2 - 25
$25,000 in prizes Entries open April www.missiontoseafarers.com.au
717 FLINDERS STREET DOCKLANDS VIC 3008
Caring for Seafarers in Victorian Ports since 1857
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Queenscliff Gallery & Workshop
WORKSHOP Publishing and editioning services available. Facilitating personalised workshops.
www.qgw.com.au 81 Hesse Street, Queenscliff VIC 3225 [Map 1] 03 4202 0942 Wed to Mon 10am–4pm. See our website for latest information. Queenscliff Gallery & Workshop enhances the arts culture in the community for locals and visitors by exhibiting the works of Australian artists, running specialty events and offering editioning and publishing for professional printmakers.
Red Tree Gallery www.redtreegallery.com.au 420 Main Jindivick Road, Jindivick, VIC 3818 [Map 1] 03 5628 5224 Open daily 10am–4pm. See our website for latest information. Red Tree Gallery was opened in May 2015 by local artist Laurie Collins. Initially, the gallery was designed to show Collins’ small works and has grown to include works from various artists throughout the Gippsland region and beyond. 1 July—30 July Guy Price An illustrator and artist having his first solo show.
www.rmitgallery.com 344 Swanston Street, Melbourne, VIC 3000 [Map 2] 03 9925 1717 Like RMIT Gallery on Facebook. Follow @RMIT Gallery on Twitter. See our website for latest information.
2 July—27 July Tanner / Tiwi An exhibition of works by Lucinda Tanner and Tiwi artists, Barbara Puruntatameri, Chris Black, Colleen Freddy, Conrad Tipungwuti Kamilowra, Dino Wilson, Dymphna Kerinaiua, Geraldine Pilakui, Glen Farmer Illortaminni Tjipomurrayl, Janice Murray Pungautiji, Jimmy Mungatopi, Johnathon Bush, Kaye Brown, Kenny Brown, Mary Magdalene Tipungwuti, Michelle Woody, Nicholas Mario, Pamela Brooks, Pauletta Kerinaiua (JNR), Pedro Wonaeamirri, Pius Tipungwuti, Raelene Kerinauia Lampuwatu, Timothy Cook and Tina Patlas. Opening 5 July, 3pm–5pm.
18 June—28 August The new (ab)normal
Yvette Stubbs, Girl and Chickens. 1 August—31 August Faces of Yve Yvette Stubbs Artist and poet.
30 July—31 August Amor / Davey / Moore Embracing companionship while engaged in a solitary pursuit is not unique in the world of art but, unlike many other artists, Rick Amor, Philip Davey and David Moore can measure their professional comradeship in decades. QG&W are happy to be able to rehang the exhibition originally planned for April. Opening 9 August, 2pm–4pm.
23 July—22 August me say edit be Darcey Bella Arnold
RMIT Gallery
Lucinda Tanner, Cordyline Monsoon, 2020, multi colour woodblock print on Somerset 300 gsm, 112 x 76 cm (each panel).
Rick Amor, Flinder’s Peak You Yangs, 2004, oil on panel, 15 x23 cm.
Darcey Bella Arnold, Ed-it con-tin-u-e, 2019, acrylic paint on canvas board, 125 x 95 cm.
ReadingRoom www.areadingroom.com 37 Swanston Street, Room 4, Level 6, The Nicholas Building, Melbourne, 3000 VIC [Map 2] 0424 627 751 Weds to Sat, 12noon–5pm, and by appointment. See our website for latest information.
RMIT Gallery’s inaugural online exhibition The new (ab)normal provides a real-time snapshot of how artists are responding to their new working conditions and circumstances during the COVID-19 global health crisis. Curated by Helen Rayment, RMIT Galleries curator, and Dr Tammy Wong Hulbert, Lecturer of Arts Management (specialising in curating), the exhibition is presented in partnership with RMIT’s School of Art with creative responses from more than 40 School of Art staff, HDR students, and industry partners. The new (ab)normal provides us with a timely insight into how art can unite us, and that although we may be physically distant, our social connections remain strong and are perhaps even strengthened under these challenging circumstances.
Sarah Scout Presents www.sarahscoutpresents.com 1st Floor, 12 Collins Street, Melbourne, VIC 3000 [Map 2] 03 9654 4429 Directors: Kate Barber and Vikki McInnes. See our website for latest information. 147
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Shepparton Art Museum www.sheppartonartmuseum.com.au 70 Welsford Street, Shepparton, VIC 3630 [Map 1] 03 5832 9861 Director: Dr Rebecca Coates. Daily 10am–4pm, public holidays 1pm–4pm. Free entry. See our website for latest information.
Marea Gazzard, Torso 14, 1970, stoneware. SAM Collection, 1972. Photo Jamie Durrant. 18 May—25 October A Finer Grain: Selected Works from the SAM Collection Spanning the full breadth of SAM’s 83year collection history, we have taken a chronological approach, loosely grouped by decade from the date of creation. Artworks span a range of medium and subject, and showcase the breadth of SAM’s material focus in works on paper, painting, and Australian ceramics. This approach offers insights into SAM’s collection and the history of its development, as pertinent then as it is today. The exhibition includes the first work by a female artist, Alice Currie, acquired by the museum in 1938, with an early focus on landscapes, still-lives and portraiture. The exhibition highlights some of SAM’s collection strengths, such as the acquisition in the 1970s of many of Australia’s now renowned early 20th century Australian Modernist women artists including Grace Cossington Smith, Margaret Preston, and many others, when their works were more affordable than their male counterparts.
Sofitel Melbourne on Collins www.sofitel-melbourne.com 25 Collins Street, Melbourne, 3000 [Map 2] 03 9653 0000 See our website for latest information.
State Library Victoria www.slv.vic.gov.au 328 Swanston Street, Melbourne VIC 3000 [Map 2] 03 8664 7000 See our website for latest information.
Costume made for centenary of Victoria celebrations. Photograph by Broothorn Studios, 1935. State Library Victoria, MS 13268. 24 October 2019—31 December Velvet, Iron, Ashes Due to COVID-19 restrictions the Velvet, Iron, Ashes exhibition at State Library Victoria is currently closed. However, you can continue to explore the exhibition onlineand even step inside using Google Maps. From early July, enjoy a virtual tour of the exhibition and go on a trail of unexpected, intertwined stories to discover surprising connections between extraordinary people, events and icons from Victoria’s history. Velvet, Iron, Ashes opens up a new way of seeing our history and reveals as never before how our stories intersect. Find out how the armour of infamous bushranger Ned Kelly is connected to cricket’s celebrated Ashes Urn, how fairy floss is connected to Victoria’s Latrobe Valley electricity industry, and why the granddaughter of one of our prime ministers once wore a glittering velvet cloak that symbolised the Murray–Darling irrigation scheme.
STATION www.stationgallery.com.au 9 Ellis Street, South Yarra, VIC 3141 [Map 6] 03 9826 2470 Tues to Fri 10am–5pm, Sat 10am–4pm.
Tom Polo, commit to a feeling, 2020, acrylic and Flashe on canvas, 182 x 138 cm. Courtesy of the artist and STATION. 4 July—1 August exit strategy Tom Polo 4 July—1 August My Friend, Lavender Sarah Contos 8 August—5 September A Case of the Old and the New Gareth Sansom
Stephen McLaughlan Gallery www.stephenmclaughlangallery.com.au Level 8, Room 16, Nicholas Building, 37 Swanston Street, Melbourne, VIC 3000 [Map 2] 0407 317 323 See our website for latest information.
Showcasing treasures from the Library’s collection and from other major institutions and private collections, this captivating exhibition will inspire you to make discoveries of your own. Velvet, Iron, Ashes is the inaugural exhibition in the new Victoria Gallery endowed by the John and Myriam Wylie Foundation and established as part of the Library’s transformative $88.1 million Vision 2020 redevelopment.
25th Anniversary exhibition December 2019. Our ‘original’ 2020 exhibition list remains on the Gallery website for now. All shows listed after April 15th will be part of the
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refreshed 2020 / 2021 program with the exact order and dates to be advised. At this point in time normal programming is likely to resume late September.
13 June—26 July Silent Raptures Belle Bassin, Jeremy Bakker, Adam Boyd, Mel Dixon, Jasper Jacobsen & Lucy Foster. Curated by Angela Connor.
Stockroom Kyneton
1 August—13 September Wasteland Jud Wimhurst
www.stockroom.space 98 Piper Street, Kyneton, VIC 3444 [Map 4] 03 5422 3215 Thurs and Fri 10.30am–5pm, Sat 11am–6pm, Sun 11am–5pm. Closed Mon, Tues and Wed. See our website for latest information
Ghost Plant Joshua Cocking
Sutton Gallery www.suttongallery.com.au 254 Brunswick Street, Fitzroy, Melbourne VIC 3065 [Map 3] 03 9416 0727 Tue to Sat, 11am–5pm. See our website for latest information 17 June—4 July Termite Economies: Neural Nodes and Root Causes Nicholas Mangan Notations Peter Robinson
Jon Campbell and Stephen Bush, Thirty eight point seven, 1980–2020, oil and acrylic on cotton, 168 x 183 cm.
Lucy Foster, Rotten Sun, 2020, video still.
Grace Brown, Homestead, 2020, midfire speckled clay with white glaze, 23 x 13 x 18 cm. 1 August—13 September Lost Worlds Grace Brown
11 July—15 August Gone to see a man about a dog Jon Campbell
Moving Out of the Period of Heat & Rut. Josephine Mead
Suspicion Arlo Mountford
22 August—26 September Diachronic Ann Debono
Sutton Gallery → Arlo Mountford, Suspicion (production still), 2020, digital animation, single channel, stereo sound. 149
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Swan Hill Regional Art Gallery www.gallery.swanhill.vic.gov.au Horseshoe Bend, Swan Hill, VIC 3585 [Map 1] 03 5036 2430 Tue to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information. 17 July—28 August Promiscuous Provenance Anna Glynn This exhibition encourages a re-examination of our relationship with our colonial past. Artist Anna Glynn creates a world of fantasia, caught between reality and imagination as she plunders historical archives for inspiration and draws on the historical practice of copying as a way of expanding the reach of a work and seeking scientific learning. In creating strange natural history tableaux, featuring bizarre reimagined hybrid characters, she encourages the viewer to reflect on the experience of colonisation, and to reawaken a sense of wonder when interacting with our environment. Promiscuous Provenance is a travelling exhibition from
Shoalhaven Regional Gallery Nowra. This project has been assisted by the Australian Government’s Visions of Australia program.
TarraWarra Museum of Art www.twma.com.au 313 Healesville–Yarra Glen Road, Healesville, VIC 3777 [Map 4] 03 5957 3100 TarraWarra Museum of Art will reopen to the public on 14 July 2020. Open Tue to Sun, 11am–5pm and all public holidays (except Christmas Day). Admission fees apply. See our website for latest information. TWMA operates as a not-for-profit institution, with a charter to display Australian art from the second half of the twentieth century to the present day. 14 July—23 August Making Her Mark: Selected Works from the Collection A new appraisal of the work of women artists held in the collection of TarraWarra Museum of Art. Opening up a nuanced dialogue about art and gender, the
Angela Brennan, What I have done …, 2004, oil on canvas, 198.8 x 168 cm. TarraWarra Museum of Art collection, Acquired 2004. exhibition explores themes arising from works by women artists—such as personal expressionism, nature and abstraction—and then includes a selection of works by male artists which amplify these images, ideas and styles. Artists include Kate Beynon, Melinda Harper, Louise Hearman, Emily Kame Kngwarreye and Jenny Watson.
Swan Hill Regional Art Gallery → Anna Glynn, Antipodean Wonderland Reimagined from John Hunter, 2017, ink, watercolour and pencil on Arches paper, 51 x 66 cm. 150
Ten Cubed → Jonathan Delafield Cook, Southern Right Whale Dolphin, 2013, charcoal on primed linen, 76 x 259 cm.
Ten Cubed www.tencubed.com.au 1489 Malvern Road, Glen Iris, VIC 3146 [Map 4] 03 9822 0833 Tue to Sat 10am–4pm. Entry free. See our website for opening hours.
30 July—16 August Two Lines and Three Blocks Geoff Hogg, Nick Blackmore, Alisdair McKinnon and Paul Candy. Beginning in Cuba, around the famous Hershey train line, this exhibition focuses on Melbourne’s Upfield Line .
21 July—15 August Planet A David Wadelton, Jonathan Delafield Cook, Lisa Roet, Michael Cook, Noel McKenna, Nicholas Folland, Rosemary Laing and Sarah Smuts-Kennedy. To celebrate ten fabulous years of collecting, Ten Cubed presents The Symphony of Collection, a series of five exhibitions that brings together artworks in the Ten Cubed Collection. The fourth movement is an extension of the third. Traversing from an individual perspective towards post-modern problems into a wider realm, Planet A investigates collectively the relationship between human activities and our natural habitats. It creates a nostalgic depiction of ‘Planet A’, with objects and visual images of urban and rural landscapes. Featuring works by artists David Wadelton, Jonathan Delafield Cook, Lisa Roet, Michael Cook, Noel McKenna, Nicholas Folland, Rosemary Laing and Sarah Smuts-Kennedy, this imaginative exhibition explores the future of our habitat in the light of recent crises, and questions if regaining ‘normality’ could be a way forward in this tumultuous world.
20 August—6 September Genius Loci Charlotte Watson Genius Loci follows Watson’s exploration into an old Latin term referring to the ‘spirit of the place’. Through drawing and storytelling this exhibition explores the sites of various meetings; history and the sea, trees and the self, and Watson’s unfolding understanding of home. 20 August—6 September An Endless Succession of Monsters Adam Boyd A set of drawings that take their impetus from the moment of realisation when a system or language allows its own inner working to embrace the inevitable flaws created by itself; or not.
Tolarno Galleries www.tolarnogalleries.com Hope Lumsden-Barry, #7, giclée print, 42 x 59.4 cm. 30 July—16 August LOOM Hope Lumsden-Barry
25 August—29 September CODA Alasdair McLuckie, Alexander Knox, Anne-Marie May, Brook Andrew, Cyrus Tang, Daniel von Sturmer, David Rosetzky, David Wadelton, Jonathan Delafield Cook, Liu Zhuoquan, Michael Cook, Noel McKenna, Pat Brassington, Peter Atkins, Rosemary Laing, Tim Silver.
Level 4, 104 Exhibition Street, Melbourne, VIC 3000 [Map 2] 03 9654 6000 Tue to Fri 10am–5pm, Sat 1pm–5pm. See our website for latest information.
Danie Mellor, Everything exists to end, 2020, chromogenic print on metallic photographic paper, 126 x 186 cm, edition of 3 + 2 AP.
Tinning Street Presents www.tinningstreetpresents.com 5/29 Tinning Street, Brunswick, VIC 3056 (enter via Ilhan Lane) [Map 5] Thur to Sun, 11am–5pm. See our website for latest information.
An ongoing series of ‘weavings’ created using python code. Presented as prints, LOOM explores the dematerialisation of making.
1 August—29 August Danie Mellor
Charlotte Watson, Soh Hum, 2020, monotype on Somerset paper. 151
galleryelysium.com.au
VICTORIA
Town Hall Gallery www.boroondara.vic.gov.au/arts 360 Burwood Road, Hawthorn, VIC 3122 [Map 4] 03 9278 4770 Mon to Fri 10am–5pm, Sat and Sun 11am-4pm, closed public holidays. See our website for latest information.
Mon to Fri 10am–4pm, Sat to Sun 1pm–4pm. Free entry. See our website for latest information. 19 June—12 July Frater, Hammond & McCubbin Galleries: VAS Winter Select Exhibition VAS is pleased to present an exhibition of original artworks by Victoria’s emerging and established artists. The winning painting will be awarded $1000 worth of art materials sponsored by Senior Art Supplies. The winning sculpture award is sponsored by VAS.
been created during our weekly Portrait and Life Group sessions with life models. 14 August—24 August Frater, Hammond & McCubbin Galleries: VAS Portrait Exhibition This annual exhibition, featuring the Nada Hunter Portraiture Award, celebrates portraiture in all genres. An inspiring array of talent by some of Victoria’s emerging and established artists who skilfully capture the human spirit. On Sunday 23rd August, a free ‘Portrait Painters in Action’ open day will feature a live portraiture session, demonstrating the process of painting a portrait from models in costume. 1 August—30 August Members room: Maxine Wade – Solo exhibition Recent works in watercolour. 26 August—7 September Frater, Hammond & McCubbin Galleries: Within a New Light Greg Smith Over one hundred oil paintings created in the last twelve months all direct from life, featuring landscapes, portraits, still life and florals.
Kylie Stillman, Scape, 2017, hand-cut plywood, 200 x 240 x 30 cm. Image courtesy of Utopia Art Sydney. Photography by Christian Capurro. 11 July—30 August Not fully or properly either of two things Kylie Stillman
Gray Nicol, VAS Sculpture teacher, Portrait of Ophelia. 16 July—27 July Frater, Hammond & McCubbin Galleries: Vas Art School & Tutor Exhibition This exhibition showcases the range of artistic practices and mediums that are taught at the VAS Art School. Encompassing oil, watercolour, pastel, drawing, acrylic, gouache and sculpture, both students and teachers works on show will reveal the diversity and creativity within the school. There are over 100 works in a variety of genres for sale. 13 August—24 August Cato Gallery: VAS Life Group Exhibition This exhibition celebrates the human body and showcases artworks that have
These works are the outcome of an enduring interest in the landscape of central Victoria, characterized by its amazing rock formations around Tooborac combined with the red oxides inherent in the old mining sites near Heathcote. Mathrick’s work seeks to present the dichotomy inherent in the structure of these landscapes, at once impermeable and transient. VAS Online Gallery VAS is pleased to announce a new online gallery on our website. A carefully curated online gallery where you can buy artworks and sculpture works by some of Victoria’s leading and emerging artists that are members of the Victorian Artists Society. For more information: victorianartistssociety.com.au facebook.com/VictorianArtistSociety instagram.com/victorianartistssociety/
Walker Street Gallery and Arts Centre
Lyn Guy, detail from Do Not Pass This Point, 2018, silk dupon, procion dyes, monofil thread, rayon embroidery threads and backing fabrics, shapewell and pellum, 62 x 74 cm. Image courtesy of the artist.
www.greaterdandenong.com Corner of Walker and Robinson Streets, Dandenong, VIC [Map 4] 03 9706 8441 Tue to Fri, 11am–5pm and Sat, 11am–3pm during exhibitions and events (closed public holidays). See our website for latest information.
4 August—30 August Out Back Lyn Guy
The Victorian Artists Society www.victorianartistssociety.com.au 430 Albert Street, East Melbourne, VIC 3002 [Map 5] 03 9662 1484
26 August—7 September Cato Gallery: Protean Vistas Pauline Mathrick
Paul Learmonth, Bilboa, 2019, winner of the 2019 VAS Portrait Exhibition.
9 July—15 August HOME – Celebrating Diversity through Creativity. Dr Dacchi Dang, Elham Eshraghian, Humaira Fayazi, Mastaneh Azarnia, Mirela Cufurovic, Saidin Salkic. 153
ar t g ui d e .c o m . au Walker Street Gallery continued...
Wangaratta Art Gallery www.wangarattaartgallery.com.au 56 Ovens Street, Wangaratta, VIC 3677 [Map 1] 03 5722 0865 Tue to Sun 10am–4pm. 12 June—16 August Petite Miniature Textiles
Humaira Fayazi, Being Strong Despite Pressure, clay. 9 July—15 August Home is Where the Art Is Curated by the City of Greater Dandenong, the HOME exhibition is a national art program that promotes and supports artists seeking asylum or those with a refugee background. Now in its sixth year, HOME 2020 includes six artists from across Australia who have created works that respond to the theme of HOME. We also invite you to participate the exhibition workshops and special events online. For the first time the HOME exhibition will be shown virtually, giving everyone the chance to share in the exhibition no matter where they are. Visit greaterdandenong.com/home for more information.
Petite Miniature Textiles exhibition marks the tenth anniversary of this very popular, accessible exhibition and program. Showcasing the best small textile artworks from around the nation, Petite has become a highlight of Wangaratta’s program and focus on contemporary textile art practitioners. This exhibition continues to grow in popularity with artists from around the country participating and displaying contemporary textiles of a small scale. A diverse array of techniques and themes explore everything from colour, texture and decoration to social, political and environmental issues, propelling textiles into the realm of the visual arts. 15 August—20 September Photographic Tunnelling Emma Hamilton Ice cores present us with frozen snapshots of time, a series of preserved moments. Using the process of ice core sampling in Antarctica as a framework,
Wangaratta Art Gallery → Emma Hamilton, Photographic Tunnelling. 154
Photographic Tunnelling seeks to peer down through layers of landscape and our representation of it, and subsequently examine the samples retrieved. In this work, layers of temporal sediments allow us to move between two landscapes; the salt lakes of Central Victoria and the snow-capped lava fields of Iceland, two locations almost opposite each other on the globe. This project ‘photographically tunnels’ between them, from rock and ice, to salt crystals and sediment.
Whitehorse Artspace www.whitehorseartspace.com.au Box Hill Town Hall, 1022 Whitehorse Road, Box Hill, VIC 3128 [Map 4] 03 9262 6250 Tue to Fri 10am–4pm, Sat noon–4pm. See our website for latest information. 9 July—8 August Encounters: Skepsi@Artspace An exhibition of exceptional contemporary ceramics by talented early and mid-career artists represented by Skepsi Gallery. The exhibition will feature skilfully formed and meticulously glazed porcelain and stoneware work, and innovative ceramic sculpture rich in character and
VICTORIA Our exhibition program is curated to reflect the diverse social and cultural character of Wyndham and invites the viewer to explore new and challenging ideas.
vineyards from which our winemakers craft award winning wines.
Our 2020 program offers a unique vantage point at a time of great change in our world. We will explore the past, present and future, generational change and intergenerational dialogue from the perspective of a place in constant change. From the past looking forward and the future looking back, what we leave behind and what we create. The future is happening now. Steve Freestone, Resting (Nature’s Window II Kalbarri National Park), oil on canvas, 121 x 91 cm.
Tim Clarkson, Foxy, 2019, earthenware, clear and orange glaze © the artist.
24 June—12 July Western Synthesis Paintings by Steve Freestone.
individuality. Sure to intrigue and inspire, participating artist will include Connie Augustinos, Jack Balfour, Tim Clarkson, John Daly, Susan Frost, Vanessa Lucas, Julie Pennington, Ruby Pilven, and Ulrica Trulsson.
Sculptures by Lily Karedada, Eleazer Nangukwirrk and Walala Tjapaltjari.
Julie Gough, Crime Scene, 2019, video still. 9 July—30 August TRUE LIES (and alibis) Julie Gough
Simon Grennan, Quite Nice, 2018, detail, oil on canvas © the artist. 20 August—26 September Exit and Return Simon Grennan Artist and lecturer Simon Grennan teaches painting, drawing, printmaking and contemporary art practice at Deakin University. In Exit and Return Grennan revisits the 19th Century narrative of being ‘lost’ in the Australian bush, as epitomised by Frederick McCubbin’s enchanting painting Lost, from 1886. Grennan’s paintings are masterly re-interpretations of sublime bush scenes by the Australian Impressionists, however, they trigger a level of tension and enquiry that gallery visitors shouldn’t miss.
Trawlwoolway artist Julie Gough has exhibited widely across Australia and internationally. For TRUE LIES (and alibis) she presents a multi-layered installation focussing on Tasmanian Aboriginal children taken by colonists in the early 1800s, including her ancestor Dalrymple Briggs, who lived with a colonial surgeon and his wife as a child. Gough’s installation explores the experience of her ancestor and other Aboriginal contemporaries through video, a series of posters originally presented in the forest of the Queens Domain, Hobart, and new work developed for this exhibition, an evidence wall unpacking colonial actions against her people. As awareness emerges nationally that history has more than one side, that assumed truths are due for re-evaluation, this exhibition discloses historic crimes that continue to resonate for First Peoples. Opening 9 July, 6.30pm online.
Yering Station Art Gallery
Lily Karedada, Wandjina, ochre on bark, 94 x 51 cm. 15 July—17 August Heading Out … Coming Home Andrea Hopegood
www.yering.com
Wyndham Art Gallery www.wyndham.vic.gov.au/arts 177 Watton Street, Werribee, VIC 3030 [Map 1] 03 8734 6021 Mon to Fri 9am–5pm, Sat to Sun 11am–4pm. Free admission. See our website for latest information.
38 Melba Highway, Yarra Glen, 3775 [Map 4] 03 9730 0102 Mon to Fri 10am–5pm, Sat and Sun 10am–6pm. See our website for latest information. Yering Station is one of the jewels of the Yarra Valley region, attracting tourists and wine enthusiasts from around the globe. Recognised for its landmark winery/restaurant complex, the building sits harmoniously within the landscape of heritage architecture and the beautiful 155
A–Z Exhibitions
JULY/AUGUST 2020
New South Wales
Albermarle Street, Soudan Lane,
McLachlan Avenue, Blackfriars Street, Flood Street, Darling Street, Oxford
Street, Art Gallery Road, Powerhouse Road, Crown Street, Elizabeth Street,
Clarence Street, Glebe Point Road, Darley Street, Circular Quay West,
Hickson Road, First Street, Dean Street, Jersey Road, Watson Road, Goodhope
Street, Gosbell Street, Observatory Hill, Military Road, Edgeworth David Avenue,
Abbott Road, Riley Street, Balfour Street, Blaxland Road, Myahgah Road,
Old South Head Road
Artereal Gallery → Svetlana Bailey, In Memory of Big Mike, 2020, self adhesive fabric, pentaptych; 127 x 101.6 cm each.
16albermarle www.16albermarle.com 16 Albermarle Street, Newtown, NSW 2017 [Map 7] 02 9550 1517 or 0433 020 237 Thu to Sat 11am–6pm, by appointment only. See our website for latest information.
Norrie, Narelle Jubelin, Mark Titmarsh, Phillip Faulks, Stephen Bush, Savanhdary Vongpoothorn and Jenny Bell.
4A Centre for Contemporary Asian Art www.4a.com.au 181–187 Hay Street, Sydney, NSW 2000 [Map 9] 02 9212 0380 Tue to Fri 11am–5pm, Sat to Sun 11am–4pm, Thurs nights open until 8pm. See our website for latest information. 4A Digital and 4A Kids First editions featuring artists: AbdulRahman Abdullah, Rachel Ang, Rainbow Chan, Dr Dacchi Dang, Hyun Lee, Humyara Mahbub, Ida Lawrence, Marikit Santigold, Meg O’Shea, Gary Trinh and more.
Savanhdary Vongpoothorn, Either side, 2002, acrylic on perforated canvas, 180 x 150 cm. © the artist. Courtesy of the artist and Niagara Galleries, Melbourne. 29 August—3 October Presence of the past—Australian art since 1980 This exhibition explores how a generation of artists engaged with post-modernism and the continuing legacy of this movement in Australian contemporary art. Featuring Tim Johnson, John Nixon, Geoff Lowe, Imants Tillers, Howard Arkley, Susan
15 July— 8 August Liam Benson 12 August—5 September Svetlana Bailey 26 June—10 July Penelope Cain Online exhibition. 11 July—25 July Sam Holt Online exhibition.
Artbank www.artbank.gov.au 222 Young Street, Waterloo, NSW 2017 [Map 8] 02 9697 6000 See our website for latest information. Our showrooms in both Sydney and Melbourne will be open by appointment only. Please contact Artbank to make an appointment.
4A Centre for Contemporary Asian Art has launched two new, free web platforms: 4A Digital & 4A Kids. As part of 4A’s commitment to foster excellence and innovation, these projects commission new work from artists to share experience, culture, knowledge and language through contemporary art, writing and education.
Artereal www.artereal.com.au 747 Darling Street, Rozelle , NSW 2039 [Map 7] 02 9818 7473 Wed to Sat 11am–5pm, or by appointment. Closed public holidays.
Lisa Jones, Blue Wall, 2003, hand-felted wool and glue. Louise Hearman, Untitled (445), 1996, oil on composition board. Tina Havelock Stevens, Thunderhead, 2016, high definition digital video, duration 17:37 mins. Current With thunder-stroke and rain 157
ar t g ui d e .c o m . au Artbank continued... This exhibition centres around artistic expressions of lightning. Lightning is a particularly rich motif that is present in many historical times and cultures. The centrepiece of the exhibition is a diptych by Noŋgirrŋa Marawili entitled Baratjala, a place connected to the sacred lightning snake. These works were acquired by Artbank in 2019 and represent lightning as a generative yet violent force. The gallery is transformed into a theatrical space of clouds, flashes, and thunder rolls. It provides an experience, through Australian contemporary art, of the power of nature and the inspirational spark of creativity.
exhibition of contemporary art that connects local communities and global networks. Until 2021 Shadow catchers Drawn from the Gallery’s collection, Shadow catchers investigates the way shadows, body doubles and mirrors haunt our understanding of photography and the moving image.
Arthouse Gallery www.arthousegallery.com.au 66 McLachlan Avenue, Rushcutters Bay, NSW 2011 [Map 10] 02 9332 1019 See our website for latest information.
Artbank has taken appropriate measures to ensure physical distancing and all government guidelines are followed to ensure the safety of our visitors and staff. To make an appointment to visit our Sydney showroom please contact Artbank. Featured artists: Noŋgirrŋa Marawili, Roy Ananda, Bininuwuy, Tony Curran, Marley Dawson, Mira Gojak, Newell Harry, Tina Havelock Stevens, Louise Hearman, George Howlett, Lisa Jones, Peter Mondjingu, Joyita Namulu and Anne Neil.
Art Gallery of New South Wales www.artgallery.nsw.gov.au Art Gallery Road, The Domain, Sydney, NSW 2000 [Map 8] 02 9225 1700 Daily 10am–5pm. See our website for latest information.
Timothy Cook, Kulama, 2009, Art Gallery of New South Wales. © Timothy Cook. Until 2021 Under the stars
Fabrizio Biviano, An exercise in repetition, oil on Belgium linen, 91 x 76 cm. 2 July—18 July Positive Aspects of Negative Thinking Fabrizio Biviano
This exhibition presents multiple approaches to stargazing from Indigenous and non-Indigenous artists, highlighting our shared understandings of the night sky. Until 2021 In one drop of water Explores the significance of water in Asian art through a range of works from the Gallery’s collection.
Artsite Galleries www.artsite.com.au 165 Salisbury Road, Corner St Marys Street, Camperdown, NSW 2050 02 8095 9678 [Map 7] See our website for latest information. Dana Schutz, Breastfeeding, 2015, Art Gallery of New South Wales. © Dana Schutz. Until 13 September Some mysterious process: 50 years of collecting international art Curated by Gallery director Michael Brand, Some mysterious process presents 50 years of collecting international contemporary art at the Gallery and looks at how a collection evolves through curation and philanthropy. 14 March–27 September NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led 158
With a strong curatorial approach to current contemporary visual arts practice, Artsite’s diverse and innovative exhibition program places a strong focus on local emerging and early to mid-career artists. Housed in a classic 1940 art deco warehouse, Artsite Galleries offers two large purpose designed, well-lit exhibition galleries , plus a browsing stockroom gallery of selected work from our represented and associate artists.
Clifford How, I watched as the sky lifted, oil on linen, 138 x 153 cm. 31 July—15 August Antipodean Light Clifford How
Artspace www.artspace.org.au 43–51 Cowper Wharf Road, Woolloomooloo, NSW 2011 02 9356 0555 [Map 8] See our website for latest information. Now Showing NIRIN: Biennale of Sydney 2020 The 22nd Biennale of Sydney is an expansive artist- and First Nations-led exhibition of contemporary art that connects local communities and global networks.
The Australian Centre for Photography
Bank Art Museum Moree (BAMM)
www.acp.org.au 21 Foley Street, Darlinghurst, NSW 2010 [Map 9] 02 9332 0555 Tue to Fri 10am–5pm, Sat 11am– 4pm, closed pub hols. See our website for latest information.
www.bamm.org.au 25 Frome Street, Moree, NSW 2400 [Map 12] 02 6757 3320 Mon to Fri 10am–5pm, Sat 10am–1pm, Sun closed. Trinity Morris, Leaf Collector, 2019, pastel on paper, 56 x 76 cm. they see when they look at the art. Visitors to the exhibition will have the opportunity to contribute stories and read those of others. 12 August—23 August The Guitar in Art and History Richard Watkins
Ruth Medjber, Arcade Fire, 2019. Courtesy and © of the artist. Until 15 August Sense the music Ruth Medjber (IRE) Maclay Heriot (AUS)
Art Space on The Concourse www.willoughby.nsw.gov.au/Community/Arts-Culture/Visual-Arts
Since time immemorial, musicians, artists, their instruments, and their Muses have interacted as creative partners. Whether being deified, lauded, or even sometimes cursed, they have evolved with us through history, transcending darker ages to renaissances and better times. From the humble busker or troubadour to the Gods and Goddesses of the guitar, the guitar, and its ancestors in their myriad of forms, have been the paramount medium for the language and song of the Muse in art and performance. This exhibition draws from antiquities, documents, artworks, and musical instruments from prehistory to the present day in its collection of Holy Grail Guitars.
409 Victoria Avenue, Chatswood, NSW 2067 [Map 7] 0401 638 501 Wed to Fri, 11am–5pm, Sat & Sun, 11am–4pm. See our website for latest information.
Winner People’s Choice, Archibald Prize, 2019, David Darcy, Tjuparntarri – women's business, oil on linen, 240.5 x 180.5 cm. © the artist. Photo: AGNSW, Jenni Carter. Sitter: Tjuparntarri (Daisy Ward) – artist, activist, educator, traditional healer. 1 June—25 July 2019 Archibald Prize
15 July—26 July Persian Graffiti Shokufeh Kavani and Arash Nedaiee This exhibition is a combination of traditional Persian calligraphy and modern Iranian abstract painting by Shokufeh Kavani and Arash Nedaiee. Persian Graffiti is a manifestation of Persian art and culture throughout history—from Persia to Iran. Through the use of traditional Persian calligraphy created by Arash Nedaiee and award-winning Iranian artist Shokufeh Kavani, this exhibition showcases two different styles of Persian art. Their work defies the Persian art canon by showing both the differences and similarities in a divided society of modern Iran. 29 July—9 August Stories of Strangers Trinity Morris An exhibition of artworks brought to life by its audience. The Stories of Strangers exhibition is about humans and our perception. The art is intentionally stripped back and uncomplicated, but revealing of emotion. The exhibition plays with the idea that art is not necessarily what the artist sees, but what others see in it and with this, asks its audience to tell the story
Lyndall McCulloch, La Belle Epoque 1885, hand coloured etching on paper, 35 x 25 cm. 26 August—6 September La Vie en Rose Lyrebird Arts Community The growing complexity of the nature of connection and communication in the modern world has created new sources of stress and tension as we negotiate our daily routine. Artists from Lyrebird Arts Community have used their medium to investigate how these modern challenges have impacted our wellbeing, as well as the strategies we have adopted to cope with these obstacles. That is, do we put on our rose-coloured glasses to live “la vie en rose”?
Marg Adams, Meei Dreaming, 1996, acrylic on canvas, 76 x 105 cm. BAMM Collection, purchased 1996. 3 July—29 August BAMM Art Fair Online in 2020 This year we are moving BAMM Art Fair (BAF) online. Join us as we celebrate BAMM’s first online exhibition and connect with our region’s artistic community. Established in 2019, the BAF is an annual event aimed at encouraging, supporting and promoting the work of local and regional artists. All artworks for sale, digital catalogue online 1 week prior to exhibition opening. Follow us Instagram to meet the featured artists and for all the latest updates. Contact BAMM for more information.
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Barometer Gallery www.barometer.net.au
View the finalists of Australia’s favourite biennial award for realistic portraiture.
13 Gurner Street, Paddington, NSW 2021 [Map 10] 02 9358 4968 See our website for latest information.
Blue Mountains City Art Gallery BRAG Collection. Photo by David Roma. project designed to give audiences unprecedented ‘behind the scenes’ access to the BRAG collection.
Catherine Rogers, Darling Harbour, No. 2, 1985.
Over eight weeks, gallery staff will be engaged in collection activities including photography, condition reporting, cataloguing and researching. Community members are encouraged to visit the gallery to gain insight into collection activities that are usually conducted behind closed doors.
www.bluemountainsculturalcentre. com. au Blue Mountains Cultural Centre, 30 Parke Street, Katoomba NSW 2780 [Map 11] 02 4780 5410 Mon to Fri 10am–5pm, Sat and Sun, 10am–4pm. Admission fees apply. See our website for latest information.
AR+COLLECT will not only provide a rare opportunity to watch curators at work but will also provide a unique opportunity to experience the breadth of the BRAG collection. Comprising over 2,000 objects, the collection includes paintings, drawings, prints, textile works, photography, sculpture, new media and ceramic works. The program will include four distinct highlight exhibitions: Olde Masters: Lloyd Rees and Graham Lupp; Dynamic Duos: Jean Bellette & Paul Haefliger, Frank & Margel Hinder; Celebration of Colour; & Hill End Highlights. 15 August—11 October 2019 Archibald Prize Barbara Rogers, Triangles, 2015. 1 July—9 August Deconstructed City – Darling Harbour, Sydney, 1985 Catherine Rogers Black and white panoramic photographs picturing parts of the first major demolition and redevelopment of Sydney’s historic Darling Harbour precinct.
15 August—11 October Pictures of You A community photography exhibition which invites all members of the Bathurst community to submit a black and white photograph of someone significant, either missed or cherished during their experience in isolation. Bathurst Young Archies
12 August—19 September Here and There Barbara Rogers
A community portrait prize for artists aged 3 to 18 years.
Barbara Rogers reflects on her trip to Japan to study ancient and contemporary shibori techniques through these richly patterned textiles. Shibori is an ancient Japanese resist dye process used to create complex patterns on textiles.
Bega Valley Regional Gallery
Bathurst Regional Art Gallery
Locust Jones, Covid-19, 2020, monochrome drawing, 1000 x 120 cm. Image: Silversalt. Online Shift+Control+Exit Brett Zejko, Damian Castaldi, Fiona Davies, Jodi McConaghy, Locust Jones, Marty Walker, Ona Janzen and Rachel Peachey and Paul Mosig. In the midst of the COVID-19 pandemic, which is unfolding on a global scale, this exhibition explores the shifts that are occurring in our society; from the rise of social distancing, the collapse of our economies and the growing fear of the invisible enemy – the coronavirus. Ten contemporary artists explore these issues as they occur in real time and display their works through the interactive exhibition website shift+control+escape.com.
www.gallery.begavalley.nsw.gov.au Zingel Place, Bega, NSW 2550 [Map 12] 02 6499 2222 Mon to Fri 10am–4pm. See our website for latest information.
www.bathurstart.com.au 70–78 Keppel Street, Bathurst, NSW 2795 [Map 12] 02 6333 6555 Tue to Fri 10am–5pm, Sat & Sun 10am–2pm, Public holidays 11am–2pm. 9 June—9 August AR+COLLECT AR+COLLECT is an ambitious collection 160
Jody Graham, Rot, 2017, installation of aged hardwood pavers. Photo: Graeme Wienand.
The Shirley Hannan National Portrait Award 2018, opening night.
2 June—5 July Occupied Susanna Castleden, Clare Delaney, Kath Fries, Karen Golland, Jody Graham, Virginia Hilyard & Sue Pedley, Catherine O’Donnell, Mollie Rice, Margaret Roberts,
Wendy Tsai and Rebecca Waterstone. Occupied is a graphic and textured representation of the spaces encountered during our daily routines, and the engineered road scapes we engage with when travelling from one place to another.
Blacktown Arts Centre www.blacktownarts.com.au 78 Flushcombe Road, Blacktown, NSW 2148 [Map 12] 02 9839 6558 Tues to Sat 10am–5pm. See our website for latest information.
After so much isolation, we thought it was time to celebrate the reopening of the Leo Kelly Blacktown Arts Centre by asking our audiences to help select a new exhibition. We’ll take the 25 most popular and exhibit them for a month in the Arts Centre’s main gallery. We’ll also interview artists and, restrictions permitting, offer tours of other Art Collection works in Council buildings. Check out the Collection selection and cast your vote here... blacktownarts.com.au/close-encounters. July—August Performance Space – apply for creative development residencies The Performance Space at Blacktown Arts Centre is closed to the public for the next few months, but still open to new ideas. Find out more about what we can support here... blacktownarts.com.au/ opporunities-for-creatives.
23 July—22 August Close Encounters (with the Blacktown City Art Collection)
Public Programs We hope that our other public programs and workshops will return soon. In the meantime, keep up to date with what’s happening by signing up to our newsletter via our website or following us on Facebook.
Broken Hill Regional Art Gallery www.brokenhill.nsw.gov.au 404–408 Argent Sreet, Broken Hill, NSW 2880 [Map 12] 08 8080 3440 See our website for latest information.
www.c-a-c.com.au
16 June—10 July Terra inFirma
Presented during the 250th commemorative year of James Cook’s arrival in Kamay/Botany Bay, Terra inFirma reveals deeper knowledge about our region and wider cultural histories.
Our digital School holiday program will go live from 1 July and will focus on keeping kids and young people busy and creative during their school holiday break.
Campbelltown Arts Centre
Photograph by Jennifer Leahy.
Featuring works by: Kristone Capistrano, Jumaadi, Shivanjani Lal, Venessa Possum, Teivao Pupu, Tamariki, Judy Watson, Fozia Zahid.
Creative Holidays
Photograph by Joseph Mayers. Courtesy of Landcom, DSMG. Digital Programs In July, our digital program will focus on First Nations content to celebrate NAIDOC week. In August, we will have a closer look at the City Art Collection, who creates the artwork, and how to start your own collection. Check out our social pages and website.
1 Art Gallery Road, Campbelltown, NSW 2560 [Map 11] 02 4645 4100 Open daily 10am–4pm. See our website for latest information. 14 March—11 October 22nd Biennale of Sydney: NIRIN Aziz Hazara, Barbara McGrady, John Miller and Elisapeta Heta, Adrian Stimson, Noŋgirrŋa Marawili and more. For the full list visit www.c-a-c.com.au.
Campbelltown Arts Centre → Installation view, 22nd Biennale of Sydney: NIRIN, Campbelltown Arts Centre, 2020. Photo by Document Photography. 161
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New works in the Gallery by: Geoffrey Proud Works by: C Blackman, D Boyd, P Booth, C Campbell, R Crooke, R Dickerson, D Friend, G Gittoes, J Gleeson, P Griffith, R Harvey, M Luccio, N McKenna, S Paxton, V Rubin, T Storrier, W Sharpe, S West, M Winch, M Woodward, and many others
Geoffrey Proud, Our Magical Hilltop Home, Pastel on paper , 77x60cm
fmelasgallery.com.au
2 Moncur Street, Woollahra NSW, 2025. Open 7 Days, Tuesday to Saturday 10am – 5pm, Sunday – Monday by appointment only. (02) 9363 5616. www.fmelasgallery.com.au e: art@fmelasgallery.com.au
21 August—17 October Robert and Janice Hunter Collection
Cement Fondu
Local art collectors Robert and Janice Hunter donated their collection of Aboriginal art to Coffs Harbour Regional Gallery in 2018. Featuring the work of 27 artists from Central Australia, the Kimberley and Arnhem Land, these paintings explore the rich concepts that bind Aboriginal artists, communities and land together.
www.cementfondu.org 36 Gosbell Street, Paddington, NSW 2021 [Map 10] 02 9331 7775 Thur to Sun 11am–5pm. See our website for latest information.
Cowra Regional Art Gallery www.cowraartgallery.com.au
Danny Morse, Saxa Green, 2020, acrylic on hardwood. 25 June—18 July Danny Morse Catherine Clayton Smith 23 July—15 August Emma Finneran
77 Darling Street, Cowra, NSW 2794 [Map 12] 02 6340 2190 See our website for latest information The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council and supported by Create NSW.
Sarah Hendy Kenny Pittock, Apocalipso’s, 2020. Ceramic. Cement Fondu new commission. Launching July Cement Fondu Digital Program: Don’t Let Yourself Go Amrita Hepi, Sarah Goffman, Jodie Whalen, Giselle Stanborough, Jen Jamieson, Mechelle Bounpraseuth, Kawita Vatanajyankur, Shahmen Suku, Salote Tawale and Sidney McMahon, JD Reforma, Jamaica Moana, Motel Sisters and Kenny Pittock.
Chalk Horse www.chalkhorse.com.au 167 William Street, Darlinghurst, Sydney, 2010 NSW [Map 9] 0423 795 923 Tues to Sat 11am–6pm. See our website for latest information.
27 August—19 September Harley Ives Alicia Mozqueira
Coffs Harbour Regional Gallery www.coffsharbour.nsw.gov.au/gallery Cnr Coff and Duke Streets, Coffs Harbour, NSW 2450 [Map 12] 02 6648 4863 Tue to Sat 10am–4pm. Closed Sun and Mon. See our website for latest information. 9 June—15 August Be Still
Susanna Castleden , Bitumen Landscape (Indian Ocean Drive), 2016, frottage and screen print on gesso paper maps, 210 x 360 cm. Photo: Silversalt. 16 June—19 July As far as the eye can see This exhibition celebrates the contemporary topography of both landscape and printmaking. A Blue Mountains City Art Gallery touring exhibition curated by Rilka Oakley.
The Coffs Harbour Regional Gallery invited the community to capture photos of their domestic experience living in COVID-19 isolation on the Coffs Coast and around the world, through the theme of still life. With the aid of Instagram, the community responded with photos of still life compositions by including one of the following hashtags #BeStillCoffsCoast, #BeStillAustralia or #BeStillWorld. This collection of images has culminated in the Be Still exhibition at the Coffs Harbour Regional Gallery, opening on Tuesday 9 June, ready to be explored. 21 August—17 October Tradigital Brentyn Lugnan
Catherine Clayton Smith, Anthem (DMS), 2020, acrylic on canvas, 175 x 175 cm.
A solo exhibition by leading Gumbaynggirr artist Brentyn Lugnan. Strikingly contemporary, Lugnan’s work remains deeply grounded in Gumbaynggirr culture, embedded with traditional symbolism and spirituality while taking it firmly into the future.
Gabriella Bisetto – glass artist working in her studio. Photo: Angus Lee Forbes 2 August—13 September OBSESSED: Compelled to make An Australian Design Centre touring exhibition. Entries close 22 July for the $20,000 acquisitive Calleen Art Award 2020– visit our website for more information.
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The Cross Art Projects www.crossart.com.au
20 June—18 July “It was an extraordinary summer” Maria Kontis
8 Llankelly Place, Kings Cross, Sydney, NSW 2011 [Map 8] 02 9357 2058 Thur to Sat, 11am–6pm. By appointment.
Laurence Aberhart, Whanganui East, 12 March 2020. 25 July—22 August Skirting the Edge of Night Laurence Aberhart The Night is Doubtful Noel McKenna
Defiance Gallery www.defiancegallery.com Betty Bundamurra, Kira Karo, 2020. 13 June—1 August Connected to the Land Angelina Karadada Boona, Betty Bundamurra, Mary Punchi Clement and Mary Teresa Taylor. Connected to the Land pays tribute to three senior women artists; presenting work selected by their colleague, curator and artist Angelina Karadada Boona. The works originate from a small tin shed; an art centre they call Kira Kiro in Kalumburu, an isolated settlement in NorthEast Kimberley.
12 Mary Place, Paddington NSW 2021 [Map 10] 02 9557 8483 Directors: Campbell RobertsonSwann and Lauren Harvey. Wed to Sat 11am–5pm. See our website for latest information.
www.darrenknightgallery.com 840 Elizabeth Street, Waterloo, NSW 2017 [Map 8] 02 9699 5353 Tue to Sat 10am–5pm.
1 July—8 August Worker Cage Document Reliefs Simon Denny August—September Yona Lee
Flinders Street Gallery www.flindersstreetgallery.com
August Ngardang Girri Kalat Mimini (Mother Aunty Sister Daughter) Georgia MacGuire
Darren Knight Gallery
Simon Denny, Document Relief 21 (Amazon Worker Cage patent), 2020, ink jet print on archival paper, glue, custom metal wall mount, 29.7 x 21 x 13 cm, unique. Courtesy of the artist and Fine Arts, Sydney.
Joe Furlonger, Scrub near Newhaven, 2019, pigment and PVA binder on canvas, 120 x 80 cm.
61 Flinders Street, Surry Hills, NSW 2010 [Map 9] 02 9380 5663 Wed to Sat 11am–6pm, or by appointment. See our website for latest information.
1 July—23 July Joe Furlonger 1 July—23 July Kevin Norton 29 July—20 August Tim Kyle Opening Sunday 26 July, 11am–2pm. 29 July—20 August Paul Higgs Opening Sunday 26 July, 11am–2pm.
Fine Arts, Sydney www.finearts.sydney
Maria Kontis, It was an extraordinary summer, detail, 2020, pastel on velvet paper, 56 x 76 cm. 164
Suites 204 & 205, 20-22 Bayswater Road, Potts Point, NSW 2011 [Map 8] 02 9361 6200 Wed to Fri, 12noon–6pm, Sat, 12noon–4pm and by appointment. See our website for latest information.
Rosemary Lee, Self Portrait, oil on canvas, 30 x 24 cm. 28 July—8 August Rosemary Lee
NEW S OUTH WALES 12 August—5 September Teelah George
Gallery Lane Cove www.gallerylanecove.com.au Upper Level, 164 Longueville Road, Lane Cove, NSW 2066 [Map 7] 02 9428 4898 Mon to Fri 10am–4.30pm, Sat 10am–2.30pm. See our website for latest information.
Floria Tosca, Talisman, 2020, acrylic on canvas, 137 x 122 cm. 20 August—5 September Bearing Witness Floria Tosca
Gaffa Gallery www.gaffa.com.au
11 June—12 July Shelter Domestics (Online Exhibition) Turning gendered semiotics and the genre works of domestic settings on its head, Shelter Domestics examines the unusual current situation of home and lockdown life where boundaries of the private and the public are blurred and at times, interchanged. This exhibition is presented in both 2D and 3D gallery formats. Features works of international and Australian artists. View exhibition online, for further details, please visit our website.
photographers Alyssa Barwick and Marie Low had a vision of creating an alternate world for women of the Shire during the heart-breaking time of the drought. They set about photographing women of all ages and all walks of life and came up with 44 conceptual portraits featuring everything from a breast cancer survivor in a vivid pompom creation to two friends as Picasso Sirens and a recreation of the powerful Metropolis robot. The idea stirred the imagination of Gunnedah, and the two photographers soon had a Siren squad - a team of professional hair stylists, make-up artists and local businesses, who unselfishly dedicated their time and talents towards making Sirens of Gunnedah a reality. The exhibition opened at the Gunnedah Bicentennial Creative Arts Gallery in late 2019 and was nominated for an Australia Day Award in Gunnedah.Proudly presented by Lane Cove Council.
281 Clarence Street, Sydney, NSW 2000 [Map 8] 02 9283 4273 See our website for latest information.
Gallery 9 www.gallery9.com.au 9 Darley Street, Darlinghurst, NSW 2010 [Map 9] 02 9380 9909 Wed to Fri 11am–6pm, Sat 11am–5pm, Mon and Tue by appointment. See our website for latest information.
Megan Jones, Hide and Seek, 2019, oil on polycotton. Image courtesy of the artist. 1 July—25 July Confronting the Shadow Megan Jones Jones’s solo exhibition focuses on the effect of our actions on society and the environment, when we do not take sufficient responsibility for our behaviour. The artist interprets the shadows within us and the world as causes for these effects. Jones’s investigation of the shadow is an active exploration of the dark side, to find the light; a way to try to understand what life is about; a means to conquer darkness, and then to integrate it with the light. Artist talk 11 July, 11am.
Louise Gresswell, Untitled (textured grey and peach), 2020, oil on board, 36 x 27.5 cm. 17 June—11 July Louise Gresswell 15 July—8 August Paul Snell
1 July—25 July Emergence Featuring recent artworks by artists affiliated with Gallery Lane Cove—teachers and students of its studios—Emergence is a group show that marks the end of our recent pandemic lockdown, new beginnings in its aftermath and the strength of community. 29 July—22 August Sirens of Gunnedah A Lane Cove Sister City Exhibition Sirens of Gunnedah is a magical photographic exhibition celebrating 52 women from Lane Cove’s Sister City, Gunnedah in north-west New South Wales. Gunnedah
Tilly Lees, I Almost Killed, charcoal on paper, 2020. Image courtesy of the artist. 29 July—22 August Uncovered Tilly Lees Uncovered is an investigative project undertaken during Tilly Lee’s residency at Gallery Lane Cove from 2019–2020 culminating in a solo exhibition. She endeavoured to uncover the essence of the respectable Sydney Lower North Shore community and discover the heart of the municipality, to bring into the light what has been hidden. Tilly asked the residents via purposed-built letterboxes to share the happy, the sad, the intimate, the shocking, the joyful, and the secret. Over the course of the year she received over 250 responses from which she developed a new series of text-based works. Please check the gallery’s website (www. gallerylanecove.com.au) for details on public program events. 28 August—12 September Lane Cove Art Awards An exhibition of Lane Cove Council’s annual art awards entries, featuring works in a wide range of mediums from acrylics and oils to watercolour and pastels. Proudly presented by Lane Cove Council, organized by Lane Cove Art Society. 165
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Gallery Sally Dan-Cuthbert
Goulburn Regional Art Gallery
www.gallerysallydancuthbert.com
www.goulburnregionalartgallery. com.au
20 McLachlan Avenue, Rushcutters Bay, Sydney, NSW 2011 [Map 10] 02 9357 6606 Tues to Fri 10am–5pm, Sat and Sun 12noon–4pm. See our website for latest information.
184 Bourke Street, Goulburn, NSW 2580 [Map 12] 02 4823 4494 Mon to Fri 9am–5pm, Sat 12pm–4pm. See our website for latest information. 10 July—15 August The Ambassador Eugenia Lim Zhu Ohmu, That feeling when you finally decide you want to have kids one day, but the next day you read that climate scientists are warning we only have 12 years before the shit hits the fan, glazed ceramic, 40 x 38 x 34 cm. 9 July—2 August If not you, who? If not now, when? Zhu Ohmu 11 August—31 August Communion Don Cameron
Trent Jansen and Johnny Nargoodah, Ngumu Janka Warnti (All Made from Rubbish) Large Vessel, 2020, New Zealand leather and aluminium, 120 W x 75 D x 20 cm H, Open Edition.
Glasshouse Port Macquarie
11 June—7 July Partu (Skin) Trent Jansen and Johnny Nargoodah
Corner Clarence and Hay streets, Port Macquarie, NSW 2444 [Map 12] 02 6581 8888 See our website for latest information.
glasshouse.org.au
Eugenia Lim is an Australian artist of Chinese-Singaporean descent who works across video, performance and installation. In her work, Lim transforms herself into invented fictional personas who traverse through time and cultures to explore how national identities and stereotypes cut, divide and bond our globalised world. This 4A Centre for Contemporary Asian Art and Museums & Galleries of NSW (M&G NSW) initiated touring project presents Eugenia’s most recent body of work, The Ambassador series. In this three-part project, Eugenia takes on a Mao-like persona who sits halfway between truth and fantasy—dressed in a gold lame suit and matching bowl haircut. Throughout each of her works, The Ambassador takes on new roles in uncovering the Australian-Asian narrative—drilling down into racial politics, the social costs of manufacturing and the role of architecture in shaping society. A 4A Centre for Contemporary Asian Art
Goulburn Regional Art Gallery → Eugenia Lim, The Australian Ugliness, 2018, three channel video installation. Production still by Tom Ross. Courtesy of the artist. 166
and Museums & Galleries of NSW touring exhibition. This project has been assisted by the Australian Government’s Visions of Australia program.
of students’ exemplary artworks that offers a high quality teaching and learning resource representing best practice in visual arts education. Celebrate student achievement. Connect communities through the visual arts.
See our website for latest information.
ARTEXPRESS is a partnership between the NSW Department of Education and the NSW Education Standards Authority in association with Goulburn Regional Art Gallery.
Grace Cossington Smith Gallery www.gcsgallery.com.au Gate 7, 1666 Pacific Highway, Wahroonga, NSW 2076 [Map 7] 02 9473 7878 facebook.com/gcsgallery Free entry. Mon–Fri ,10am–5pm, Sat 9am–4pm. See our website for latest information. Kylie Caldwell, Woven Dreams, 2019, Buchie Rush (wetland reed). Courtesy of the artist.
Bill Dorman, Adrift, 2020, detail, Muntz metal sourced from the Goulburn Court House dome, hand formed sheet steel and copper, dimensions variable. Image courtesy of the artist. 10 July—15 August Adrift Bill Dorman
16 July—16 August Woven dreams Kylie Caldwell Kylie is an ardent weaver and Bundjalung fibre artist with an interest in pursuing traditional cultural practices. This exhibition presents a selection of her recent works combing both traditional and contemporary artistry.
Bill Dorman is a Goulburn based maker, artist and teacher working in metal, wood and other materials that cross his path. Dorman’s work ranges from fine jewellery to steel sculpture, furniture to useless widgets, set design to installations and anything else that takes his fancy.
Crossing the Clarence Presenting works from Clarence Valley artists that celebrate the beauty and engineering excellence represented through major capital works over the Clarence Valley. Gallery Exhibitions and Programs are presented with support from Create NSW.
Dorman has been drawn to the form associated with boats for some time, with its inference to vessel, journey, distress, loss, refugees, politics, migration, invasion and so much more. The boats in Adrift are an initial series of five made from the Muntz metal capping from the original Goulburn Court House dome which was made in England in the early 1800s. In the time since then, a beautiful patina has developed. It has literally been the protective covering for justice in this city of Goulburn and beyond. These rare and precious metal pieces have waited in Dorman’s resource yard for many years and were a perfect fit for their inherent boat shape and their history. 21 August—26 September ARTEXPRESS With a broad range of works spanning sculpture, painting, drawing and photography, the Gallery is proud to exhibit select Bodies of Work from the 2019 HSC Visual Arts practical examination. As a hub for contemporary art and the primary access point for children and young adults, the exhibition is a key juncture between the exhibition and education programs of the Gallery. ARTEXPRESS is a showcase
Tannya Harricks, Dingo, 2018, oil painting. Until 8 August Visualising Stories Diverse approaches to contemporary children’s book illustration from Liz Anelli, Lorena Carrington, Tannya Harricks, Bethany Macdonald and Aura Parker. Please check with gallery website for opportunities to visit.
Grafton Regional Gallery www.graftongallery.nsw.gov.au 158 Fitzroy Street, Grafton, NSW [Map 12] 02 6642 3177 7 days a week 10am–4pm Closed public holidays.
Hazelhurst Arts Centre www.hazelhurst.com.au 782 Kingsway, Gymea, NSW 2227 [Map 11] 02 8536 5700 Open daily 10am–5pm. Closed Christmas Day, Boxing Day, New Year’s Day & Good Friday. Free admission. See our website for latest information. Hazelhurst Arts Centre has been specifically designed to appeal to the whole community. The combination of a major public gallery with a comprehensive arts centre, cafe, theatrette and community gallery makes a unique creative resource for everyone. Hazelhurst acknowledges the Dharawal speaking people, traditional custodians of the land, and pays respect to elders past and present. 167
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KEN DONE
Mask and Mask I, 2019, acrylic and oil crayon on linen, each 82 x 102cm.
1 Hickson Road, The Rocks, Sydney, tel 8274 4599, www.kendone.com 168
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Hazelhurst Arts Centre continued... ARTEXPRESS Curated by Hazelhurst, this annual showcase of outstanding art from 50 students
1 August—25 October USE
Solastalgia is a collaborative exploration by four independent female artists of the plethora of environmental challenges that define our contemporary existence. As each artist investigates these challenges with an entirely unique approach, their body of work synthesises as a demonstration of care and compassion for our natural world, and recognises the losses we have endured. Solastalgia aims to transform the gallery into a space to both lament and meditate on the things that have gone, but also to contemplate what can be done to ensure a living future.
Lilly New, Progress Over Perfection (detail), 2019, drawing, graphite pencil, Shire Christian School. was selected from the 2019 HSC practical examination in Visual Arts and includes a broad range of approaches to art and expressive forms. Please continue to check our website and social media pages for updates on exhibitions.
Hurstville Museum & Gallery www.georgesriver.nsw.gov.au/HMG 14 MacMahon Street, Hurstville, NSW 2220 [Map 11] 02 9330 6444 Tue to Sat 10am–4pm, Sun 2pm–5pm. See our website for latest information. 9 June—26 July Artbomb: Connect + Create This is not your average exhibition. Artbomb: connect + create brings together local artists, our local community and Hurstville Museum & Gallery in a slow release explosion of creativity and artistic expression. This exhibition provides a unique opportunity to meet and collaborate with artists, as they work within our space to create something great. Come in and reconnect.
Solastalgia Carol Hudson, Jo Mellor, Eva Nolan and Katya Petetskaya.
29 July—16 August Unfolding Primrose Paper
Paola Raggo, Art studio waste: reusing broken tools (saw blades), brooch and green earrings (left to right), 2017–2018, sterling silver, resin, broken saw blades. Michelle Bowden, visual photography. This exhibition of contemporary jewellery and small objects explores the impact of ‘tools’ in artisan practice. USE is a touring exhibition in partnership between Jewellers and Metalsmiths Group of Australia (Queensland Chapter) Inc. and Museums & Galleries Queensland.
Incinerator Art Space www.willoughby.nsw.gov.au/Community/Arts-Culture/Visual-Arts 2 Small Street, Willoughby, NSW 2068 [Map 7] 0401 638 501 Wed to Sun 10am–4pm. See our website for latest information. 8 July—26 July
Steven Durbach, Chaotic Self Portrait, 2019-20, ink on paper, 45 x 30 cm.
Incinerator Art Space → Carol Hudson, Intertidal Totems, 2019, porcelain, steel, timber, motor, wire and 12v battery, 1800 x 1950 x 800 cm. 169
Bearing Witness FLORIA TOSCA 15 August to 5 September
Floria Tosca, Blue banded bee, 2020, acrylic on linen, 57 x 72 cm.
Wed to Sat 11am – 6pm or by appt. floriatosca_artist, flindersstgallery www.flindersstreetgallery.com www.floriatosca.com flindersstreetgallery.com
Incinerator Art Space continued... Unfolding is a diverse showcase of artworks exploring post COVID-19 themes of change and recovery and is symbolic of the new world developing in the times our society is working through. On display are a variety of creative expressions including artist books, drawing, printmaking, installation, photography, and sculpture which reflect unique approaches and innovative methods in the medium of paper. All artists are members of Primrose Park Paper Arts Inc.
The Ken Done Gallery www.kendone.com 1 Hickson Road, The Rocks, NSW 2000 [Map 8] 02 8274 4599 Open daily 10am–5.30pm. See our website for latest information.
20 June—19 July Family Business | The Art of the Possum Family Almost 50 years after Clifford pioneered the desert art movement, this family exhibition showcases artworks from three generations of the Possum family. Heavy on iconography and deep in meaning, the show fast forwards us across three decades of artworks from one of Australia’s first families of Aboriginal art.
19 August—6 September Wobbly Machine Steven Durbach Durbach (aka Sid Sledge) is interested in the inherent chaos of everyday life, and the beauty which can be found in its unpredictability and ephemerality. These ideas are expressed in his drawings which reveal the chaotic, and allude to the uncertainty associated with certain processes. As a scientist, Durbach draws on the physical processes that give rise to the phenomena that he explores as an artist.
The Japan Foundation Gallery www.jpf.org.au Level 4, Central Park, 28 Broadway, Chippendale, NSW 2008 [Map 9] 02 8239 0055 See our website for latest information.
Tetsuya Otani, Bowl, 2019, porcelain, 150mm x 150mm x 100mm. Image courtesy of Document Photography. 21 Febuary—29 August Seikatsu Kogei: Objects for Intentional Living Seikatsu Kogei: Objects for Intentional Living explores the Japanese craft movement that began in the 1990s known as Seikatsu Kogei, or lifestyle crafts. See how the works of Seikatsu Kogei artists re-examine our relationship to the objects in our lives, presented together in Australia for the first time.
Ken Done, Mask, 2019, acrylic and oil crayon on linen, 82 x 102 cm. 18 June—19 August Recent Works Ken Done
Kate Owen Gallery www.kateowengallery.com 680 Darling Street, Rozelle, NSW 2039 [Map 7] 02 9555 5283 Daily 10am–6pm. See our website for latest information. Kate Owen Gallery is a multiple award winning gallery in Sydney’s Inner West that specialises in contemporary Australian Indigenous art for modern interiors. Just 10 minutes by bus or taxi from the CBD, the Gallery is Sydney’s go-to art space for everyone from new buyers to established collectors. Stretching over 600 square metres on three floors, Kate Owen Gallery has more Aboriginal art on display than any commercial indigenous gallery in Australia. The Gallery Owner and Director is the President of The Aboriginal Art Association of Australia, an Association that binds members to a strict code of conduct, so visitors can be assured that artists are dealt with fairly, transparently and with respect. The gallery coordinates roughly ten exhibitions each year, including one artist in residence program.
Included in this exhibition are some 70 works by 22 currently-active Seikatsu Kogei artists. The objects on display are made from a variety of materials, including wood, ceramics, lacquer, glass, metal, bamboo, paper and clay. The exhibition is also available to view online. For more information, visit jpf.org.au/ events/seikatsu-kogei/.
Khatija Possum, Bush Tucker Fire, acrylic on linen, 206 x 178 cm.
Jack Dale, Wandjinas with Food - Iondra, acrylic and ochre on canvas, 136 x 106 cm. Upcoming Life at the Frontier Jack Dale Dale is an artist notable not only for his art but for the visual history of the Kimberleys that he recorded during his long career. This retrospective features an important body of artworks spanning much of Jack’s painting life. They represent a unique and thought provoking record of a long life which straddled traditional Aboriginal law and the dangerous ‘whitefella’ world at one of our frontiers.
King Street Gallery www.kingstreetgallery.com.au 177–185 William Street, Darlinghurst, NSW 2010 [Map 9] 02 9360 9727 Tues to Sat, 10am–6pm. See our website for latest information.
Elisabeth Cummings, Last light on creek bank with date palm Ross River, 2019, 27 x 37 cm. 171
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King Street Gallery continued... 7 July—1 August Works on paper Elisabeth Cummings
Paula Dawson, Flying Colours 2.
Harrie Fasher, Untitled [figure on stand], 2019, bronze and steel, 43 x 12 x 14.5 cm. 4 August—29 August Cadence Harrie Fasher
Lavender Bay Gallery www.royalart.com.au Royal Art Society NSW 25–27 Walker Street, North Sydney, NSW 2060 [Map 7] 02 9955 5752 See our website for latest information. The Royal Art Society of NSW (RAS) is an independent not for profit gallery (Lavender Bay Gallery) and art school in North Sydney which aims to promote and encourage appreciation in the visual arts. It has been established since 1880. The Lavender Bay Gallery exhibits a high calibre of paintings and sculpture from both established and emerging artists. Exhibitions change regularly throughout the year ensuring a diverse range of traditional and contemporary works are on show. Many students have launched their art careers or explored a new hobby through the RAS Art School. There are numerous classes on offer including plein air landscape painting and life drawing.
The Lock-Up www.thelockup.org.au 90 Hunter Street, Newcastle, NSW 2300 [Map 12] facebook.com/TheLockUpArtSpace Instagram: thelockupartspace Wed to Sat 10am–4pm, Sun 11am–3pm. See our website for latest information.
Khadim Ali, Untitled 6, from Fragmented Memories series, 2017-18, cotton and nylon thread and ink on fabric, 223.5 x 163 cm. Courtesy of the artist and Milani Gallery, Brisbane. 20 June—9 August Dancing With The Dead Khadim Ali, Soojin Chang, Dr. Fiona Foley, Dr Mojgan Habibi, Pieter Hugo, Lindy Lee, Pierre Mukeba, Sarker Protick, Stanislava Pinchuk, Jemima Wyman 15 August—16 September Collect Featuring an incredible line up of 50+ artists, The Lock-Up Collect is your chance to see and invest in work by some of the best artists in the Hunter.
Macquarie University Art Gallery
Dawson began on 26 March, 2020 in response to the situation caused by the COVID-19 pandemic. The first 60 watercolour works in the series have each been painted with a particular individual or family in mind, imagining what colours would speak to them. The paintings vary in size from 46 x 61 cm and 36 x 51 cm to smaller works measuring 26 x 36 cm. Each painting with its personally chosen palette has been sent by Australia Post or given in person at the recommended social distancing space. There is a performative element to the series as Paula makes a unique work in her studio each day since the onset of the pandemic. The extraordinary hologram To Absent Friends, created by Paula Dawson in 1989 was generously donated to Macquarie University by Paula in 2005 and at that time remained to be the largest depth of field hologram in the world, a major feat achieved by the artist. This work can be viewed by appointment only. The Flying Colours Project coincides with the 10 year anniversary of launching the landmark exhibition Virtual Encounters: Paula Dawson Holograms at Macquarie University Art Gallery in partnership with Newcastle Region Art Gallery.
www.artgallery.mq.edu.au The Chancellery, 19 Eastern Road, Macquarie University [Map 5] 02 9850 7437 Wed to Fri 11am–4pm. Group bookings must be made in advance. See our website for latest information. The Macquarie University Art Gallery (MUAG) offers regular, changing exhibition programs to engage audiences from all walks of life. We want to inspire you, stir you, induce you to the wonders of art and encourage your own critical thinking in articulating those ideas that bring us to a closer understanding of our identity, our society, our culture and our world view. Our team of curators utilise an interdisciplinary framework to explore the intersections between art, science, history, philosophy, media, music and culture. 15 June–30 July Online: Flying Colours Project Paula Dawson The Flying Colours Project by Paula
Uncurated, installation view. Photography Effy Alexakis, Photowrite. 5 August—9 September Uncurated: The Exhibition Faced with a major rescheduling of exhibitions in 2020 as a result of COVID-19, the Macquarie University Art Gallery team did not want to be left with an empty, white gallery space – a declaration that culture too had become a significant victim of the virus. So, the gallery’s lead installer was asked to hang available works from the collection without any appeal to medium, content, context, size, artistic reputation or thematic narrative – just hang! The result is transformative, not simply as a means of reviving the life of the gallery space, but as a think tank of fresh aesthetic ideas generated by the juxtapositioning of works which consciously may never have been consummated in a professionally researched and curated exhibition. 173
Current online exhibition:
Kate Gradwell For the Love of Trees
Australian modern, contemporary and Indigenous works of art. Approved valuer for the Australian Government’s Cultural Gifts Program. Kate Gradwell, b.1972- UK Australia, Purple Rain, 2020, acrylic on canvas, 51 x 51 cm.
78B Charles Street, Putney, NSW 2112 02 9808 2118 See our website for our latest opening hours. brendacolahanfineart.com brendacolahanfineart.com
FINE ARTS & CRAFTS by the region’s finest Artists & Artisans
60 Caves Beach Road, Caves Beach, NSW FiniteGallery.com 0419 471 660 See our website for opening hours information. fyregallery.com
finitegallery.com
May Space → Mylyn Nguyen, You can find me up on the highest tree, 2020, charcoal, ink, pastel, paper, plastic, resin, fibre, eucalyptus leaf, 4.2 x 10 x 5 cm.
May Space www.mayspace.com.au 409b George Street, Waterloo, NSW 2017 [Map 9] 02 9318 1122 Tues to Sat, 10am–5pm, See our website for latest information.
Museum of Art and Culture, Lake Macquarie (MAC) www.mac.lakemac.com.au First Street, Booragul, NSW 2284 [Map 12] 02 4921 0382 Tue to Sun 10am–4.30pm. Admission free. See our website for latest information.
To celebrate our region (and world) emerging from the unprecedented conditions resulting from the recent pandemic, MAC presents this exhibition of hope. This exhibition will reconnect artists and the community directly, in the physical sense, beyond the digital and distanced world they’ve inhabited over the past months. Inclusive of recent painting, sculpture, photography, video and installation, installed inside the Art Museum and out, this exhibition looks on the brighter and more positive side of life. A MAC exhibition project in consultation with the community.
Dianna Wells, Crater, 2019, gelatin silver print on fibre based paper, 50 x 50 cm, edition of 8. 1 July—18 July Looking in; Seeing Out — Bundanon Peta Minnici Geomorphology Dianna Wells 22 July—8 August Dog Park and Other Things Jane Grealy
12 August—29 August Among Leaves and Twigs Mylyn Nguyen
Jamie North, Succession, (detail) 2013, cement, steel, native plants, 2 parts, 450 x 90 cm (diam.); 420 x 90 cm (diam.). Donated through the Australian Government’s Cultural Gift Program in memory of Kerry North, 2017.
Two minutes to midnight Rebecca Hastings
4 July—11 October Reconnected: a recovery story
Where Architecture Meets the Land Agnes Tyson
Kathleen Paddoon, Nakarra Nakarra, 2007, 59.5 x 39.5 cm, etching on Hahnemühle paper. Donated by MAC Society Lake Macquarie Cultural Collection Museum of Art and Culture, yapang Collection © the artist. 175
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Call to artists
Adelaide Perry Prize for Drawing 2021 $25,000 acquisitive Charles Cooper, State Forest, charcoal on paper Winning entry 2020
Enter online via the link to the Gallery page at www.plc.nsw.edu.au/microsites Closing date for entries 14 January 2021
Corner, Hennessy and College Streets, Croydon, NSW. T: (02) 9704 5693 E: AdelaidePerryGallery@plc.nsw.edu.au
www.plc.nsw.edu.au plc.nsw.edu.au
Museum of Art and Culture continued... Until 27 September YOUR COLLECTION: yapang The word ‘yapang’ (pronounced yahpung) means journey or pathway in Awabakal language, and is the name given to the newly dedicated program of Aboriginal exhibitions and related projects within MAC. This exhibition not only celebrates these initiatives, but also launches the commitment to showcase collection works permanently in the MAC exhibition space. A yapang project in consultation with the Aboriginal Reference Group.
9 May—26 July Learning From Country Ken Searle And Nadia Wheatly An exhibition showcasing the writing, art and design of six multi-award-winning books produced by artist/designer Ken Searle and author Nadia Wheatly and exemplifying the principle of ‘Learning from Country’ that the artist and author experienced while working as consultants at the school in the Aboriginal community of Papunya, NT.
Manly Art Gallery & Museum www.magam.com.au West Esplanade, Manly, NSW 2095 [Map 7] 02 9976 1421 Tue to Sun 10am–5pm. Free entry. Closed Mon and pub hols. See our website for latest information.
9 May—16 August Waiting For Equality Telling LGBTQI stories about marriage equality in Newcastle and the Hunter, 2004–2019.
Maitland Regional Art Gallery www.mrag.org.au 230 High Street, Maitland, NSW, 2320 [Map 12] 02 4934 9859 Tue to Sat 10am–5pm (café open from 8am) Free entry, donations always welcomed. See our website for latest information. 29 February—2 August Guns To Roses — From The Maitland Regional Art Gallery Collection Guns to Roses brings together artworks from the MRAG Collection, and selected works on loan, that illustrate how artists respond to the precariousness of our times; the fragility of life as impacted by war, political unrest and climate change, and the consciousness of our own mortality. Within this exhibition we find symbols of weaponry transformed into visually seductive motifs, the daily news transformed into a ten metre long scroll and the beauty of our native flora used as a disguise to impart a much deeper message. The central element of this exhibition, drawn from the MRAG Collection, is the installation Gun no. 1, that sees paper weapons transformed into vibrantly coloured rosettes. This work, created by Chinese artist Li Hongbo, reflects the Chinese saying that ‘life is as fragile as paper’.
Loud hailer, c.1940s, MAG&M Collection. Gift of Mrs J. Mellowes, 1992. Until 3 August Treasures from the Vault
Helen Hopcroft, Accidental Harpy 3 detail, 2019, watercolour, pencil and ink on paper, 21 x 29.5 cm. 16 May—23 August The Re-Enchantment Helen Hopcroft If this exhibition has a theme, it’s the idea of falling in love again, whether this is with someone, something, an animal, your body, an activity you love doing or just your own life. 9 May—26 July Intimate Universe — From The Australian Society of Miniature Art The universe our world moves in is unfathomably vast, limitless and unknowable. But we each live in our own universe, our own small world, an intimate universe of personal experience. In this exhibition the artists will be contemplating the universe in all its interpretations, in the form of miniature art – paintings, drawings, sculpture and more. 23 May—16 August Safe Space Contemporary Sculpture Abdul-Rahman Abdullah, Alex Seton, Claire Healy and Sean Cordeiro, David Cross, Franz Ehmann, Karla Dickens, Keg de Souza, Michelle Nikou, Rosie Miller, Tim Sterling and Will French.
Ken Searle and Nadia Wheatly, Playground cover, detail, acrylic on paper, 47 x 60 cm.
Celebrating its 90th year, MAG&M features highlights from its extensive collection, providing rare insights into the history and stories of one of Sydney’s great art collections. It features paintings and photographs acquired through MAG&M Society, the Theo Batten Bequest, Northern Beaches Council, the Australian Government’s Cultural Gifts Program, private donors and by artists which has enabled it to represent the work by some of Australia’s most significant artists.
Safe Space Contemporary Sculpture brings together three-dimensional art works by twelve Australian artists that explore psychological aspects of physical space. It features a range of figurative elements and narrative themes with social, and sometimes political, resonances. Many of the works in this exhibition take, as their point of departure, the human body, its dimensions, the spaces it occupies, the narratives that contain it and the theatre or spectacle that unfolds around it.
Kathrin Longhurst, The Artist as a Young Girl, 2020, oil on canvas, 120 x 120 cm. 8 August—18 October Portraits Project Placing artists at the centre of its 90 years’ celebrations, MAG&M presents two significant exhibitions in a powerful expression of the art making of this region: a series of twenty commissioned photographic portraits of local artists by Greg Weight; and an exhibition of fifteen new self-portraits by acclaimed Sydney painters. Artists include Kathrin Longhurst, Reg Mombassa, Kirsty Neilson, Evert Ploeg, Wendy Sharpe, Salvatore Zofrea and Joshua Yeldham. 177
Visualising Stories An exhibition highlighting diverse approaches to contemporary children’s book illustration. “The wonder of visualising stories is that the artist is able to shape the story and create a unique reading experience that goes beyond words. Words and images unite to offer a rich and rewarding experience for the reader.” Paul Macdonald, Children’s Bookshop
Liz Anelli Desert Lake by Pamela Freeman and One Photo by Ross Watkins Lorena Carrington Vasilisa the Wise and The Buried Moon by Kate Forsyth Tannya Harricks Dingo by Claire Saxby and Mallee Sky by Jodi Toering Bethany Macdonald Paperboy by Danny Parker Aura Parker Twig, Cocoon, Meerkat Splash and Goodnight Glow Worms by Aura Parker
View the gallery website for the virtual exhibition tour and opportunities to visit this beautiful exhibition Artwork clockwise from top: Aura Parker, Tannya Harricks, Bethany Macdonald, Liz Anelli and Lorena Carrington With thanks to: Dirt Lane Press, Penguin Random House Australia, Scholastic Press, Serenity Press and Walker Books Australia Pty Ltd
Gallery hours Mon to Fri 10 am–5 pm Sat 9 am–4 pm FREE ENTRY | Gate 7, 1666 Pacific Highway, Wahroonga 02 9473 7878 gcsgallery@abbotsleigh.nsw.edu.au | www.gcsgallery.com.au | An Anglican Pre K–12 Day and Boarding School for Girls gcsgallery.com.au
25 June—19 July Group Exhibition A.J. Taylor, Michael McHugh, Alexander McKenzie, Sally Bourke and Ildiko Kovacs.
Manly Art Gallery continued... 8 August—18 October Museum of the Beach A playful showing drawn from MAG&M’s museum objects collection brings to life six paintings from MAG&M’s art collection. Works by Ethel Carrick Fox, Percy Spence, Anne Zahalka, Bruce Goold, Bill Leak and Guan Wei become the inspiration for MAG&M’s beach culture and visual art collections to intermingle and illuminate the key theme of ‘The Beach’.
Manning Regional Art Gallery www.manningregionalartgallery.com.au 12 Macquarie Street, Taree, NSW 2430 [Map 9] 02 6592 5455 See our website for opening hours and the latest information. Until 2 August The 2019 Doug Moran National Portrait Prize 6 August—20 September Puppets and Paint For many, Bruce Rowland is a well known
Bruce Rowland, Sandro’s Studio, 2010, oil on canvas. Image courtesy of the artist. Newcastle-based painter of figurative subjects, however he is also an accomplished and highly skilled puppeteer and puppet maker. This exhibition explores the versatility and professionalism of this artist across these art forms.
Martin Browne Contemporary www.martinbrownecontemporary.com 15 Hampden Street, Paddington, NSW 2021 [Map 10] 02 9331 7997 Tue to Sun 10.30am–6pm. See our website for latest information.
Charlotte Le Brocque, Are you kidding me?, 2020, ceramic with glaze, 23 x 13 x 23 cm. 25 June—19 July Friends Charlotte Le Brocque
Martin Browne Contemporary → Sally Bourke, The Gathering, 2018, oil on canvas, 150 x 170 cm. 179
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3 August to 30 August 2020 Exhibition at Chatswood Chase, Sydney Level One, 345 Victoria Avenue, Chatswood Chase Sydney. Opening times: Mon, Wed, Fri 9.30am–5.30pm, Thurs 9.30am–9pm, Sat and Sun 10am–5pm. Sculptor on duty 11am–2pm. Enquiries and Sales: Shirley Li 0408 506 285 and Feyona van Stom 0408 226 827 info@sculptorssociety.com www.sculptorssociety.com The Sculptors Society is proudly supported by Chatswood Chase, Sydney. Michael Vaynman, Victory, bronze, 118 x 30 x 20 cm. sculptorssociety.com
wentworthgalleries.com.au wentworthgalleries.com.au
Jenny Green, bronze (unique), 49 x 25 x 15 cm.
Mosman Art Gallery → Travelling Bungaree, 2015, video, 5:46 mins, performed by (BLAK) Douglas, Karla Dickens, Amala Groom, Warwick Keen, Peter McKenzie, Djon Mundine, Caroline Oakley, Bjorn Stewart, Leanne Tobin and Jason Wing. Developed with the assistance of Andrea James.
Mosman Art Gallery www.mosmanartgallery.org.au Corner Art Gallery Way and Myahgah Road, Mosman, NSW 2088 [Map 7] 02 9978 4178 Open daily 10am–5pm, closed public holidays. See our website for latest information. Until 9 August Bungaree’s Farm An exhibition of contemporary Aboriginal audio, video, performance and installation art exploring the legacy of Bungaree and the establishment of Bungaree’s Farm, the first land grant by colonial authorities to an Aboriginal person in Australia. Originally staged in the Camouflage Fuel Tanks at Georges Heights, Mosman in 2015, the exhibition features work by emerging and established First Nations artists.
Karla Dickens, Mother’s Little Helper, 2019, video still. Until 30 July Mother’s Little Helper Karla Dickens Lismore-based Wiradjuri artist Karla Dickens has partnered with Bunurong, Yuin and Tasmanian man Bruce Pascoe
to create Mother’s Little Helper, a film project produced with Blacklock Media. The deeply poignant work reflects on our relationship to ‘Mother Earth’ and the next generation which must have the skills and knowledge to make positive change.
scavenged from across the artist’s country, the work speaks to the both the traditional culture that centred on the river and the impact of colonisation on the landscape and waterways.
Murray Art Museum Albury (MAMA) www.mamalbury.com.au 546 Dean Street, Albury, NSW 2640 [Map 12] 02 6043 5800 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. See our website for latest information.
Andrew Liversidge, Those So Called Infinite Horizons, 2020. MAMA Installation View. Photo: Jeremy Weihrauch. 26 June—30 September MAMA Collection In a moment of programming limbo, we find ourselves reflecting on our period of isolation, the environment in which we sit, and the connection we have to it. Landscapes drawn from the MAMA Collection sit alongside seminal photographic series by Tracey Moffatt, Michael Riley, and Hayley Millar-Baker.
Lorraine Connelly-Northey, On Country, 2017, MAMA Installation View. Photo: Tyler Grace. 26 June—30 September Lorraine Connolly-Northey: On Country An epically scaled installation inspired by the Murray River and the way its meandering path draws together the people and country surrounding it. Made from found materials and detritus
New large-scale commissions by Bethany Thornber and Andrew Liversidge can be found on the exterior of the museum alongside Tristan Jellah’s video work Cloud City. Works never before exhibited from the MAMA Collection include Katthy Cavaliere’s installation work empty stockings: full of love and Cherine Fahd’s Hiding self portraits, and Patrick Hartigan Tool and Muse. Recent acquisitions by Anna Kristensen, Hany Armanious, join favourites from the MAMA Collection including Guy Boyd’s The Olympic Swimmer. 181
ar t g ui d e .c o m . au Murray Art Museum continued... 1 January—31 October Kate Rohde: Little Gems MAMA’s Wonder Cupboards are hidden throughout the museum, filled with secret exhibitions curated especially for children. Artist Kate Rohde has created five new installation works that are fun, colourful, eclectic, and share Rohde’s love of all things animal, mineral and vegetable.
Museum of Contemporary Art Australia www.mca.com.au 140 George Street, The Rocks, Sydney, NSW 2000 [Map 8] 02 9245 2400 We now open Tue to Sun 10am–5pm. Closed Mondays. See our website for latest information.
Hazara (Afghanistan), Tarek Lakhrissi (France), Misheck Masamvu (Zimbabwe), Prof Zanele Muholi (South Africa), Pedro Wonaeamirri (Andranangruwu (Melville Island), Paluwiyanga (Australia). Tribe: Milipurrulla (White Cockatoo). Dance: Jilarti (Brolga).
by the black and white image requires greater engagement by the viewer. In Monovision, black and white photographic landscapes through to portraiture selected from the Collections at Muswellbrook Regional Arts Centre celebrate the monochromatic images to which we are perennially drawn.
Muswellbrook Regional Arts Centre www.muswellbrookartscentre.com.au Corner Bridge and William streets, Muswellbrook, NSW 2333 [Map 12] 02 6549 3800 Tues to Fri 10am–5pm, Weekends 10am–1pm. See our website for latest information.
Dagmar Cyrulla, Timing, 2008, oil on linen, 210 x 240 cm. Muswellbrook Shire Art Collection, Donated through the Australian Government’s Cultural Gifts Program by Tom Armstrong.
Noŋgirrŋa Marawili, installation view, 22nd Biennale of Sydney: NIRIN, Museum of Contemporary Art Australia, Sydney, 2020. Image courtesy the artist and Museum of Contemporary Art Australia © the artist. Photograph: Ken Leanfore. Now Showing 22nd Biennale of Sydney: NIRIN The 22nd Biennale of Sydney (2020), titled NIRIN, is artist- and First Nations-led, presenting an expansive exhibition of contemporary art that connects local communities and global networks. Meaning edge, NIRIN is a word from Brook’s mother’s Nation, the Wiradjuri people of western New South Wales. Seven themes inspire NIRIN: Dhaagun (‘earth’: sovereignty and working together); Bagaray-Bang (‘healing’); YirawyDhuray (‘yam-connection’: food); Gurray (‘transformation’); Muriguwal Giiland (‘different stories’); Ngawal-Guyungan (‘powerful ideas’: the power of objects); and Bila (‘river’: environment). For the first time, artists from Nepal, Georgia, Afghanistan, Sudan and Ecuador will participate in the Biennale of Sydney. Level 1 Galleries: Denilson Baniwa (Brazil), Victoria Santa Cruz (Peru), Mayunkiki (Japan), Noŋgirrŋa Marawili (Darrpirra/Yirrkala, Australia, Elicura Chihuailaf Nahuelpán (Chile), Erkan Özgen (Turkey), Ahmed Umar (Sudan/ Norway). Level 3 Galleries: Joël Andrianomearisoa (Madagascar/ France), Huma Bhabha (Pakistan/USA), Jes Fan (Canada/USA/China), Aziz 182
Kenny Williams Tjampitjinpa, untitled, 2010, acrylic on Belgian linen, 183 x 244 cm. Donated through the Australian Government’s Cultural Gifts Program by Guy Wilson, Muswellbrook Shire Art Collection. 19 July–30 August Shapeshifters: transformative forms Shapeshifters: transformative forms explores works of art within the context of the notion of shapeshifting. Typically the stuff of myth and folklore, Shapeshifters possess the ability to change their appearance at will, assuming unexpected forms and existing between the physical and the spiritual. Artworks that appear to display such attributes challenge the viewers perspectives and perceptions. Colour and shape that dance and move across the surface of works all at once converging in kaleidoscopic patterns, optical pushes and pulls that play on ambiguities of colour and form, and meditative landscapes caught in a constant state of flux; through sculpture, paintings, ceramics and photography selected from the Collections held at Muswellbrook Regional Arts Centre, Shapeshifters: transformative forms reveals expressions suggestive of the morphing nature of shapeshifting. 19 July–30 August Monovision: Black and White Photography from the Collections Paradoxically, what is added by way of colour is often considered by many to take something away from the photographic image. Black and white photography is revered for its interpretive, timeless quality. Whilst coloured photography is descriptive, the narrowing of parameters offered
26 January–30 August Reflection: Contemporary Portraiture from the Collections Portraiture has evolved alongside civilization remaining one of the constant focuses of art throughout history. Confronting the human element, contemporary portraiture seeks to move beyond presenting a sense of likeness or outward appearance to capturing a subject’s essence and inner substance. Drawn entirely from the Collections held at the Muswellbrook Regional Arts Centre, Reflection: Contemporary portraiture from the Collections expounds an intimate human expression – a reflection of the sentiments held by each artist for their subject, be it mother, wife, child, friend or mentor. Works by artists including Charles Blackman, Judy Cassab, Roy Jackson, Richard Larter, Euan Macleod and Suzie Marston elucidate the contemporary approach taken to portraiture of this most fundamental of disciplines in the art world. 15 March–30 August Art Tracks III: Grey Sky, Blackened Earth The Art Tracks exhibition series accompanying the annual Muswellbrook Art Prize showcases the works acquired via the Prize forming the nucleus of the Muswellbrook Shire Art Collection. Art Tracks III: Grey Skies, Blackened Earth offers a commentary on the current status of the Australia landscape—our towns and cities shrouded in smoke (Michael Shannon, Summer Landscape 1969), the land ravaged by drought and fire (Elwyn Lynn, Across the Black Soil Plains 1960 and David Harrex, Black Landscape, Tasmania 1968). The destruction is palpable. Art Tracks III calls the viewer to pause, to contemplate, to action.
influential abstract expressionists, Newcastle Art Gallery is proud to be staging the first major survey of Gelghorn’s work. HOMEWARD BOUND: the art and life of Tom Gleghorn will feature paintings and drawings from across the artist’s extraordinary career of more than 70 years.
National Art School Gallery www.nas.edu.au Forbes Street, Darlinghurst, Sydney, 2010 [Map 9] 02 9339 8686 See our website for latest information.
Installation view, REPEATER: from the collection, Newcastle Art Gallery, 2020 Kim Leutwyler, Tay, 2020, oil on canvas, 102 x 76 cm. 6 July—17 July WOMXN: Queer Portraits Kim Leutwyler
Newcastle Art Gallery www.nag.org.au Fiona Lowry, Gliding over all, 2012, acrylic on canvas, 183 x 123 cm. National Art School Collection, donated through the Australian Government’s Cultural Gifts Program by Alex Orellana, 2018 © the artist.
1 Laman Street, Newcastle, NSW 2300 [Map 12] 02 4974 5100 Tue to Sun 10am–5pm. See our website for latest information.
Online On Stillness
12–14 Meagher Street, Chippendale, Sydney, NSW 2008 [Map 8] 02 8599 8000 #nandahobbs See our website for latest information.
Drawn exclusively from the Gallery’s collection, the exhibition features new acquisitions by Daniel Boyd, Robert Jacks, Jennifer Keeler-Milne, Emily Kame Kngwarreye and Reko Rennie, contemplative works by locally born or based artists Peter Atkins, Nicola Hensel, Bree Rooney and Lezlie Tilley, as well as hidden gems and iconic favourites from the collection by Marion Borgelt, Kerrie Lester, Peter Tully and many more.
Since 2006, Newcastle Art Gallery’s KILGOUR PRIZE has encouraged innovation within portrait and figurative painting. One of Australia’s major art prizes, the KILGOUR PRIZE 2020 will award $50,000 for the most outstanding work of art, and a People’s Choice of $5,000 to the painting voted most popular by the general public.
As the pace of regular life tentatively resumes, art can remind us to slow down and remain observant. Drawing on a range of genres and mediums, On Stillness celebrates the potential of art to pause time and illuminate the passing moment.
www.nandahobbs.com
This exhibition presents works of art that imitate life amidst a pandemic, as we take a more minimalist approach to life, or find ourselves repeating the same motions day after day. But instead of monotonous or mundane, repetition can be comforting. This exhibition encourages us to focus on the beauty of the familiar.
1 August—25 October KILGOUR PRIZE 2020
An evolving online exhibition presented across the social media accounts of public art galleries. It highlights artwork from the collections of each institution that embody the idea of stillness. Initiated by the National Art School and Newcastle Art Gallery, the exhibition draws focus to the collective experience of stillness imposed by the COVID-19 lockdown.
Nanda\Hobbs
2 June—5 October REPEATER: from the collection
The KILGOUR PRIZE 2020 will be judged by Lauretta Morton (Director of Newcastle Art Gallery), Stephen Gilchrist (curator and Lecturer Art History, The University of Sydney), and Rachel Arndt (Gallery Programs and Touring Exhibitions Manager, Museums and Galleries of NSW). Winner announced Friday 31 July. Tom Gleghorn, Landscape Altar – MacDonnell Ranges, 1986, oil on canvas, 242 x 196 cm. Donated through the Australian Government’s Cultural Gifts Program by Sandra Dell Andersen 2018. Newcastle Art Gallery collection Courtesy of the artist. 9 May—19 July HOMEWARD BOUND: the art and life of Tom Gleghorn Gleghorn’s inaugural solo exhibition was held at Newcastle Art Gallery in 1959. Sixty-one years after that exhibition, Gleghorn is homeward bound. Considered to be one of Australia’s finest and most
New England Regional Art Museum www.neram.com.au 106–114 Kentucky Street, Armidale, NSW 2350 [Map 12] 02 6772 5255 Tue to Sun, 10am–4pm. See our website for latest information.
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OLSEN
19 August—12 September Nicholas Harding
www.olsengallery.com 63 Jersey Road, Woollahra, NSW 2025 [Map 10] and OLSEN Annex: 74 Queen Street, Woollahra, 02 9327 3922 Director: Tim Olsen Mon noon–5pm, Tue to Fri, 10am–6pm, Sat 10am–5pm, Sun 11am–5pm. See our website for latest information. 24 June—18 July John Young
31 July—18 October COVENTRY
Philjames, Untitled, 2020, ink on Hannemule cotton rag paper, 75 x 105 cm. 22 July—15 August Philjames
Olsen → John Young, Shiva IX, 2020, oil on linen, 71.5 x 92 cm. 184
www.parramattastudios.com.au Level 1 & 2, 68 Macquarie Street, Parramatta, NSW 2150 [Map 11] 22 Mary Parade, Rydalmere NSW 2116 02 9806 5230 Open during events only. Studios by appointment. Admission free. The energetic home for creative production in the centre of Western Sydney, Parramatta Artists’ Studios (PAS) has supported hundreds of artists since opening in 2006. PAS provides a supportive studio environment for artists to develop their practices, whilst also connecting them with a community of peers and arts professionals.
Tim Lewis, Ernst Ludwig Kirchner, 1974, oil on canvas.
A major exhibition celebrating the diverse and avant-garde works of art from the Chandler Coventry Collection. Featuring artists such as Howard Arkley, Tony Bishop, Peter Booth, Joe Brainard, Gunter Christmann, Fred Cress, Gene Davis, Janet Dawson, Albert Irvin, Alun LeachJones, Ann McCoy, Robert Owen, Wendy Paramor, Jeffrey Smart, Michael Taylor, Dick Watkins, Brett Whiteley and more.
Parramatta Artists’ Studios
1 July—31 August 2020 Parramatta Studio Artists Akil Ahamat, Tully Arnot, Cindy Yuen-Zhe Chen, Lillian Colgan, Dacchi Dang, Kalanjay Dhir, Sabella D’Souza, Kirtika
Emma Fielden in her studio at Parramatta Artists’ Studios Rydalmere, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning.
Dacchi Dang in his studio at Parramatta Artists’ Studio, 2019. Courtesy of Parramatta Artists’ Studios. Photo by Jacquie Manning. Kain, Gillian Kayrooz, Shivanjani Lal, Sarah Rodigari, Sofiyah Ruqayah, Yana Taylor and Justine Youssef. 2020 Rydalmere Studio Artists Liam Benson, Emma Fielden, Mehwish Iqbal, Ramesh Mario Nithiyendran, Tom Polo and Yasmin Smith.
Peacock Gallery and Auburn Arts Studio www.cumberland.nsw.gov.au/arts Auburn Botanic Gardens, Corner Chisholm and Chiswick Roads, Auburn, NSW 2144 [Map 11] 02 8757 9029 Tue to Sun 11am–4pm. See our website for latest information.
she interrogates the aesthetics of the photographic medium to underpin this conceptually. In Field Notes from the Edge, Dahl presents work from recent field trips to the islands of Tasmania (Australia) and Spitsbergen (Svalbard/Norway). These two peripheral north/south locations are known for their pristine nature and aesthetic projection of deep time—while concurrently the convergence of human activity can be intuited across the geographical topography.
18 June—19 July Make Believe Craig Handley 23 July—16 August 2020 Insanitizer Joel Dickens
Galina Munroe, Two Cups, Two Buttercups, 2020, oil, enamel and canvas collage on canvas, 100 x 80 cm. Hayley Megan French, The Pipeline Polaroids (three houses down 1), 2020, acrylic on Polaroid photograph, 9 x 11 cm.
20 August—6 September To Emerge in a Different Place Galina Munroe
4 July—August Three houses down Hayley Megan French
Roslyn Oxley9 Gallery
If home is where we start from, then these 72” water pipes constructed across 37 years (1888–1925)—first in wrought iron, then mild steel and finally electrically welded steel plates—that run over Darug land from Prospect Reservoir east to Potts Hill, signify home to me. Three houses down from the pipeline. This exhibition brings together new Polaroid paintings, works on canvas and a series of Polaroid drawings all centred on the pipeline as home.
www.roslynoxley9.com.au 8 Soudan Lane, (off Hampden St), Paddington, NSW 2021 [Map 10] 02 9331 1919 Tue to Fri 10am–6pm, Sat 11am–6pm. See our website for latest information.
PIERMARQ* Gallery www.piermarq.com.au 76 Paddington Street, Paddington, NSW 2021 [Map 10] 02 9660 7799 See our website for latest information Exhibition view, Callum Morton, View from a Bridge, Roslyn Oxley9 Gallery. Photo: Luis Power. 4 June–4 July View from a Bridge Callum Morton
Ellen Dahl, Field Notes from the Edge #6 / 78°27’52.9”N, 2019, archival photographic print.
Saint Cloche
4 July—August Field Notes from the Edge Ellen Dahl The landscape is often used by Ellen Dahl as an entry point to articulate trepidations around the Anthropocene and the uncertainties of place and belonging. Drawn to the uncanny and ambiguous,
www.saintcloche.com
Craig Handley, We Particularly Like the Outdoor Space, 2019, oil on Belgian linen, 108 x 122 cm.
37 MacDonald Street, Paddington, NSW 2021 [Map 10] 0434 274 251 Wed to Sat 10am–5pm, Sun 11am–4pm. 185
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NEW S OUTH WALES
S.H. Ervin Gallery www.shervingallery.com.au National Trust of Australia (NSW), Watson Road, (off Argyle Street), Observatory Hill, The Rocks, Sydney, NSW 2000 [Map 8] 02 9258 0173 Tue to Sun 11am–5pm. See our website for latest information. James Barker, Studio with Strong Light, circa 1997, oil on canvas, 91 x 107 cm.
Suzie Idiens, Untitled #16, 2017–2020, laminate on black MDF, 50 x 50 x 10cm. Image courtesy of the artist.
3 June—4 July James Barker (1931–2019) Curated by Elisabeth Cummings and Damian Barker.
adjustments to surface colour and perimeters of a predetermined geometric form.
Sally Robinson, Body in a box (self portrait), acrylic on canvas, 152 x 122 cm, winner, 2019 Portia Geach Memorial Award. 14 August – 20 September Portia Geach Memorial Award The Portia Geach Memorial Award is Australia’s most prestigious art prize for portraiture by women artists. First awarded in 1965, the Award was established by Florence Kate Geach in memory of her sister, artist Portia Geach. As per the direction of the will, the Award is annually presented to an Australian female artist for the best portrait painted from life of a man or woman distinguished in art, letters or the sciences. Geach was widely acclaimed as a leading artist and was a frequent commentator in the national media – making her an iconic figure in the Australian arts community. The Portia Geach Memorial Award is given by Perpetual as trustee, to the entry with the highest artistic merit.
Susan Andrews, Unpack repack, 2019, acrylic on wood, 36 x 40 x 3 cm. Image courtesy of Jennifer Leahy, Silver Salt Photography. 30 July—16 August Construction/reconstruction Susan Andrews The title for this exhibition conjures a symbiotic process of both making an image – object and then pulling it apart to reconsider its form, function or narrative. Through the process of construction and reconstruction the works draw upon the genres of abstraction: geometric painting the monochrome and perception based spatial painting.
Stanley Street Gallery STACKS Projects www.stacksprojects.com 191 Victoria Street, Potts Point, NSW 2011 [Map 8] Thurs to Sat 11am–6pm, Sun 11am–4pm. See our website for latest information 2 July—19 July Unintended Consequences Suzie Idiens This exhibition explores the variable outcomes derived from introducing simple
www.stanleystreetgallery.com.au
Denis Clarke, Estuary, 2020, oil on linen, 122 x 94 cm. 8 July—8 August Art in Isolation Group exhibition. 12 August—29 August Fernweh: Into the Blue Andjana Pachkova
STATION www.stationgallery.com.au Suite 201, 20 Bayswater Road, Potts Point, NSW 2011 [Map 10] 02 9055 4688 Thurs to Fri 12noon–6pm, Sat 12noon–4pm. See our website for latest information.
1/52–54 Stanley Street, Darlinghurst, NSW 2010 [Map 8] 02 9368 1142 Wed to Fri 11am–6pm, Sat 11am–5pm or by appointment. See our website for latest information. The gallery hosts a continually changing exhibition calendar and showcases the work of both established and emerging artists. Exhibitions include painting, photography, sculpture, wearable art, ceramics, video, and performance.
Patrick Lundberg, illustration from the artist’s notebook, 2020. Courtesy of the artist and STATION. 187
finearts.sydney
CALL FOR ENTRIES
$20,000 Acquisitive Painting Prize : Entries close 22 July 2020 Enter online: www.cowraartgallery.com.au/calleen2020 or contact the Cowra Regional Art Gallery for an entry form
EXHIBITION DATES: 4 October to 15 November 2020 Cowra Regional Art Gallery, 77 Darling Street, Cowra NSW 2794
2020
20 years
ADMISSION FREE Hours: Tuesday–Saturday 10am–4pm, Sunday 2pm–4pm (Mondays closed) T: (02) 6340 2190 E: cowraartgallery@cowra.nsw.gov.au
cowraartgallery.com.au
The Cowra Regional Art Gallery is a cultural facility of the Cowra Shire Council
25 June—18 July The Forest Grant Stevens
STATION continued... 27 June—25 July the edge of the sky or whatever Patrick Lundberg 1 August—29 August Group Show
Sturt Gallery & Studios www.sturt.nsw.edu.au Cnr Range Rd and Waverley Parade, Mittagong, NSW 2575 [Map 7] 02 4860 2083 Daily 10am–5pm. See our website for latest information. Sturt was established in 1941 and is a nationally significant and award winning centre for the teaching, sale, production and exhibition of contemporary Australian craft and design.
A Circle of Makers. Courtesy of Sturt Gallery. and prints by Sue Meredith, Phoebe Middleton, Sara Farmer, Slavica Zivkovic, Phil Alldis. Photographs by Sophie Piper. Ceramics by Simon Bowley, Tracey Mitchell, Louise Boscacci. Jewellery by Corinne Snare.
Steel Reid Studio www.SteelReid Studio.com.au 148 Lurline Street, Katoomba, Blue Mountains, NSW 2780 [Map 11] 0414 369 696 or 02 478 26267 View the collection by appointment.
Sydney Ball, Zonal Turn, 1968-9, acrylic on canvas and enamel on plywood, 185 x 180 cm. Image courtesy of the artist estate and Sullivan+Strumpf. 30 July—15 August 1960/1970 Works From the Estate Sydney Ball 20 August—12 September Sam Leach
Tamworth Regional Gallery www.tamworthregionalgallery.com.au Brian Reid, Blue Mountains, NSW, digital image. A Circle of Makers. Courtesy of Sturt Gallery. From 1 June A Circle of Makers A new exhibition showcasing the talents of the Sturt creative community. Resilience lies at the heart of our community. On March 24, in the 79th year of operation, Sturt’s creative program and classes stopped and all planned exhibitions were cancelled. As Sturt emerges from a global crisis that has impacted every aspect of a normal way of living for so many people, they take an opportunity to recognise all the artists and tutors who contribute to the Sturt artistic community. Artists who make, sell, teach or mentor are showcased in a new exhibition that is an all-inclusive celebration and ‘salon’ style epic featuring furniture, ceramics and jewellery as well as painting, drawing, printmaking, photography and more. Celebrate the diversity and strength of the artist community in the Southern Highlands, there will be something for everyone and now, more than ever, artists to support through sales of work as we return determinedly to a ‘new’ normal. Furniture from Ian Bromley, Eliza Mansell, Steve Giannuzzi, Peter Young. Paintings
Permanent studio exhibition. Collections by Pennie Steel, Brian Reid, Kaya Sulc.
Sullivan+Strumpf
466 Peel Street, Tamworth, NSW 2340 [Map 12] 02 6767 5248 tamworthregionalgallery.com.au Tue to Fri 10am–5pm, Sat 10am –4pm, Sun 10am–4pm. Closed Public Holidays. See our website for latest information.
www.sullivanstrumpf.com 799 Elizabeth Street, Zetland, NSW 2017 [Map 7] 02 9698 4696 Tue to Sat 10am–5pm or by appointment. See our website for latest information.
Grant Stevens, The Forest, 2020, procedurally generated computer graphics with sound, multiple display formats (1-3 video channels), endless duration. Courtesy the artist and Sullivan+Strumpf.
Thienny Lee Gallery www.thiennyleegallery.com 176 New South Head Road, Edgecliff, NSW 2027 [Map 10] (Opposite Edgecliff Station) 02 8057 1769 Tue to Fri 10am–4pm, Sat 11am–4pm. See our website for latest information. We are very excited to re-open our door in August (with social distancing in place according to the latest guidelines from the NSW and Federal governments) showing the finest collection from our stock room including artworks by Tony Belobrajdic, Phillipa Butters, Barbara Goldin, Julie Johnstone, Catherine Stewart, Paul Williams, Beverley Woollett, 189
AIR
ARTIST IN RESIDENCE
C R E AT E CONNECT
INSPIRE
Applications for residencies in 2021-2022 open 1 July 2020 The Carss Park Artist’s Cottage provides a studio and accommodation for one artist and is located in the picturesque setting of Carss Bush Park on the Georges River, Sydney. Residencies of up to three months are available to local, regional and international artists across a diverse range of art forms. For more information visit www.georgesriver.nsw.gov.au/AIR Image: Carss Park Artist’s Cottage during Emma Davidson’s 2019 residency. Photo by Emma Davidson.
finearts.sydney AIR advert.indd 1
16/06/2020 4:57:11 PM
Brian Reid, Untitled.
Pennie Steel, Persimmons on Ian Smith platter ,acrylic on canvas.
STEELREID STUDIO
www.SteelReid Studio.com.au by appointment only 0414 369 696
cowraartgallery.com.au
Thienny Lee Gallery continued...
A Tweed Regional Gallery initiative. Until 18 October Margaret Olley: Inspired This exhibition, drawn entirely from the Tweed Regional Gallery collection, includes interior and still life paintings by Olley, portraits of the artist and responses to her home studio by contemporary artists. 3 July—29 November 2021 Arm of the Sea and the Fertile Tree Sally Anderson Courtesy of Olsen Gallery in Sydney. A Tweed Regional Gallery initiative.
Barbara Goldin, Billabong, acrylic on canvas,102 x 122 cm.
10 July—13 September LIFE, DEATH, innocence AND GUILT Shannon Doyle
Sung Hee Ahn etc. Meantime, we are organising our next exhibition in full swing. Details to be announced, stay tuned.
An outcome of the Community Access Exhibitions Program.
Tweed Regional Gallery
An outcome of the Community Access Exhibitions Program.
www.artgallery.tweed.nsw.gov.au 2 Mistral Road, Murwillumbah South, NSW 2484 [Map 12] 02 6670 2790 Weds to Sun, 10am–11.30am, 12noon–1.30pm, 2pm–4.00pm. See our website for latest information.
Surreal Nature Dave Groom
John Mawurundjul: I am the old and the new This exhibition was developed and copresented by the Museum of Contemporary Art Australia and the Art Gallery of South Australia, in association with Maningrida Arts & Culture.
UNSW Galleries www.artdesign.unsw.edu.au/unsw-galleries Corner Oxford Street and Greens Road, Paddington, NSW 2021 [Map 10] 02 8936 0888 Tue to Sat 10am–5pm. Closed public holidays. See our website for latest information. Margaret Olley, Low tide, 1963, ink and watercolour on paper. Purchased through the Tweed Regional Gallery Donations Fund, 2016. Tweed Regional Gallery collection. Until January 2021 You are here: art from the region An exhibition comprised entirely from works in the Tweed Regional Gallery collection and highlights one of the Gallery’s four collection focus areas: artworks of regional relevance.
Euan Macleod, Going Right, Cabarita 20.1.20, acrylic on paper, 38 x 57.5 cm. Until 15 November Double Vision: Euan Macleod and Ron McBurnie
Parallel Park (Holly Bates and Tay Haggarty), Tandem, 2016, digital photograph. Image courtesy of the artists. 8 May—21 November Friendship as a Way of Life ALOK, Mark Aguhar, Frances Barrett, Shannon Michael Cane, Elmgreen & Dragset, DJ Gemma, Camilo Godoy, Helen Grace, Gavin Kirkness and the Australian AIDS Memorial Quilt project, Dani Marti, Parallel Park (Holly Bates and Tay Haggarty), Nikos Pantazopoulos, Macon Reed, A.L. Steiner & A.K. Burns, Ella Sutherland and material from the Australian Lesbian and Gay Archives. Friendship as a Way of Life brings together more than 20 artists and collaborative groups to explore queer kinship and forms of being together. Presented across the entire gallery and online, this major proj-
ect seeks to foreground the way LGBTQI+ communities create alternative networks of support through various creative and resourceful means. The project is accompanied by the online series Forms of Being Together which provides an opportunity to expand the exhibition and consider trajectories of queer kinship in contemporary art and popular culture. Each week, new content is uploaded and streamed on the gallery website and social media channels, offering a range of live events and ephemera. For more details visit: unsw.to/friendship.
The University Gallery www.newcastle.edu.au/community-and-alumni/arts-and-culture/ the-university-gallery
GS Building, University of Newcastle, University Drive, Callaghan NSW 2308 [Map 12] See our website for latest information.
Wagga Wagga Art Gallery www.waggaartgallery.com.au Civic Centre, corner Baylis and Morrow streets, Wagga Wagga, NSW 2650 [Map 12] 02 6926 9660 Tue to Sat 10am–4pm, Sun 10am–2pm. Free admission. See our website for latest information. 8 February—12 July Tree Conversations: networking with the wood wide web Networks Australia Can trees talk? Are you listening? In Tree Conversations: networking with the wood wide web, Networks Australia share fresh insights into the world of trees. Providing audiences with thought provoking exhibitions since 2010, this group of artists from regional NSW and ACT present unique works in a diversity of mediums that will share secrets from the mysterious lives of our leafy companions. 15 February—19 July Return Freya Jobbins Multi-disciplinary artist Freya Jobbins brings together a series of works that explore a deeply personal response to having a son going to war, waiting for his safe return and coping with inevitable aftermath. 14 March—30 September National Emerging Art Glass Prize 2020 Wagga Wagga Art Gallery’s acclaimed National Emerging Art Glass Prize returns in 2020, promoting innovation and excellence in contemporary glass within the emerging sector. The biennial competition is open to students from universities across Australia and artists that are within 5 years of emerging from their studies. 191
ar t g ui d e .c o m . au Wagga Wagga Art Gallery continued...
The heart of culture in the central west, the Western Plains Cultural Centre includes a Gallery, Museum and Community Art Centre. Presenting cutting edge exhibitions and programs, the Western Plains Cultural Centre aims, to challenge, connect and reflect our community and share the culture of Western NSW with our visitors.
Barbara Cleveland, Bad Timing, 2017 (installation view), single channel HD video 7’28’.’ Concept and Direction: Diana Baker Smith, Frances Barrett, Kate Blackmore and Kelly Doley. Video editing: Kate Blackmore. Original music: Andrew McLellan. Commissioned by Hannah Matthews for The Humours, MUMA 2017. Installation image: Andrew Curtis. Courtesy the artist and Sullivan+ Strumpf, Sydney. 6 June—30 August Bad Timing Barbara Cleveland The fifth in a series of works exploring the life and legacy of the mythic performance artist Barbara Cleveland. In 1977 Cleveland undertook a 24-hour performance based on a score of absurd and provocative instructions, bringing together her interests in humour and endurance. This score, when read as a whole, formed an embodied manifesto that enacted the idea of ‘bad timing’ as a feminist political strategy. 25 July—4 October Dead Reckoning Gregory Carosi Wagga based artist Gregory Carosi presents his new exhibition Dead Reckoning. This exciting series of paintings invites audiences to consider the ways in which humans and animals move through their environment in response to its physical and visual topography.
work that offers access to realms outside of the human domain. Using a combination of painting and installation, the artist fuses disparate materials and colours in an effort to create harmony within the physical and giving form to what is usually invisible. The exhibition asks us to reflect on our natural surroundings and allow ourselves to embrace the unknown and unseen. The Colour of the Invisible highlights the artist’s adaptability in transforming an outdoor private experience into the context of the gallery space, and bringing the non-human to the human domain. This is a HomeGround exhibition, produced by the WPCC and supported by Orana Arts and Wingewarra Dental.
The Wellington Gallery www.thewellingtongallery.com
Fresh Arts 20/20.
24 Wellington Street, Waterloo, NSW 2017 [Map 9] 02 9197 0901 See our website for latest information.
Opening 1 June FRESH ARTS 20/20 Fresh Arts Inc. is a group of artists who live and work in Dubbo, Warren, Gilgandra and surrounds. A co-operative vehicle for exhibiting, professional development and social opportunities, Fresh Arts has exhibited widely since its establishment in 2004. The Western Plains Cultural Centre (WPCC) has collaborated with the group in a number of ways, with many individual artists exhibiting over that time. Fresh Arts: 20/20 presents the work of 18 artists from its current membership and presents a focused survey of current artistic practice within their ranks, as well as that of the region as a whole. The exhibition reveals the diversity of practice as well as the interests and concerns of artists living in regional NSW in 2020.
Watt Space Gallery www.newcastle.edu.au/wattspace
Brendan Kelly, Sister of Mercy, 2020, acrylic on plywood, 114 x 85 cm.
20 Auckland St, Newcastle, NSW 2300 [Map 12] 02 4921 8733 See our website for latest information.
27 June—24 July Flight to Light Brendan Kelly 29 August—18 September Louise Howard
Western Plains Cultural Centre
Western Sydney University Art Galleries
www.westernplainsculturalcentre.org Dubbo Regional Gallery – The Armati Bequest Dubbo Regional Museum and Community Arts Centre 76 Wingewarra Street, Dubbo ,NSW 2830 [Map 12] 02 6801 4444 Open 7 days 10am–4pm. See our website for latest information. 192
www.westernsydney.edu.au/aciac/ exhibitions Leo Cremonese, Earthly Fire and Celestial Fire, 2019, mixed media on linen. Courtesy of the artist. 20 June—6 September Leo Cremonese: The Colour of the Invisible The Colour of the Invisible by Kandos based artist Leo Cremonese, features
Australia – China Institute for Arts and Culture Gallery, Western Sydney University (Parramatta Campus) Ground floor, EA Building, Room EA.G.13, Corner of James Ruse Drive and Victoria Road, Rydalmere 2216 02 9685 9943
At Western Sydney University, the health, safety and wellbeing of our students, staff and broader community is our highest priority. We are following all of the latest Australian Government and health authority advice; taking all of the necessary precautions; and doing our part to slow the spread of the virus. In line with the latest advice, we will be closing all of our campus galleries at this time. We look forward to welcoming you back to our gallery spaces, artist talks and other events, when possible in the future. Gallery temporarily closed.
Rydalmere NSW 2116 02 9685 9210
See our website for latest information.
White Rabbit Contemporary Chinese Art Collection www.whiterabbitcollection.org 30 Balfour Street, Chippendale, NSW 2008 [Map 9] 02 8399 2867 Wed to Sun 10am–5pm. See our website for latest information.
Michael Zavros, Elephant, 2019, oil on canvas, 160 x 120 cm. Commissioned by Wollongong Art Gallery.
Lucy Lin, The Coronavirus Fight, 2020, Texta and pencil on paper. Online exhibitions Coronavirus in Children’s Eyes Exhibition
Zhu Jinshi, The Ship of Time, 2018.
Wollongong Art Gallery in 2004. The work is part of a body of recent still life paintings that assume the shape of an animal or bird, and in the context of photorealist painting toy with notions of the real and unreal. Elephant contains four key pieces from the collection collaged together with two Monstera or ‘Elephant Ear’ leaves from the artist’s garden. Until 23 August From The Room Of Dorian Gray eX de Medici
AND NOW exhibition. 11 March—24 January 2021 AND NOW Group Show
Xiaoping Zhou, Don’t speak for me, 2010, acrylic on canvas, 170 x 170 cm. Zhou Xiaoping: Spiritual Bonding Between Land and People
www.virtualtours.westernsydney.edu.au Margot Hardy Gallery, Western Sydney University (Bankstown Campus) Foyer, Building 23, Bankstown Campus, Bullecourt Avenue, Milperra NSW 2214 02 4620 3450 See our website for latest information Gallery temporarily closed.
www.virtualtours.westernsydney.edu.au Margaret Whitlam Galleries, Female Orphan School, Western Sydney University (Parramatta Campus). First Level, West Wing, EZ Building, Parramatta Campus, Corner of James Ruse Drive and Victoria Road,
Gone are the bold declarations and audacious iconoclasm that once characterised contemporary Chinese art. The artists in AND NOW represent the vanguard of global contemporary art, their works no longer merely reflect the transformation of China but, instead, echo an entire world in flux. Eco-anxiety, governmental crackdowns, digital imprisonment disguised as liberation–it’s a brave new world that we share.
eX de Medici’s meticulous, large-scale watercolours critically engage with contemporary world issues. These seductive and deceptively beautiful paintings predominantly grapple with the politics of power and a world dictated by capitalist interests; huge multinational companies and global superpowers. Until 23 August Black Bob’s Creek Halinka Orszulok Night-time paintings that explore the his tory and identity written on the landscape and attitudes towards the land that are in a state of flux.
Wollongong Art Gallery www.wollongongartgallery.com Cnr Kembla and Burelli streets, Wollongong, NSW 2500 [Map 12] 02 4227 8500 Mon to Fri 10am–5pm, Sat to Sun noon–4pm. See our website for latest information. Until August Elephant Michael Zavros Elephant is a response to the MannTatlow Collection of Asian Art gifted to
Pamela Griffith, Cast Iron Lighthouse, Belmore Basin, 2019, oil, 84 x 107 cm. Until 25 October Wollongong Then And Now Pamela Griffith Illawarra Landscapes painted by Pamela Griffith in 2019, and photographs from the collection by Charles Kerry depicting the same locations some 130 years apart 193
A–Z Exhibitions
JULY/AUGUST 2020
Queensland
Brookes Street, Macalister Street, Brunswick Street, Doggett Street,
Hasking Street, Russell Street, Bundall Road, Fernberg Road,
Fortescue Street, Abbott Street,
Jacaranda Avenue, Maud Street,
Arthur Street, Pelican Street,
Village Boulevard, George Street,
Oxley Avenue, Bloomfield Street, Victoria Parade, Stanley Place,
Ruthven Street, Flinders Street, Wembley Road
QUEENSLAND
Art from the Margins Gallery and Studios
6 March—9 August The CQUniversity Wall Elysha Rei
www.artfromthemargins.org.au 136 Brunswick Street, Fortitude Valley, QLD 4006 07 3151 6655 Mon to Fri 10am–4pm. See our website for latest information. 1 June—17 July Survival. Balance. Growth: 2020 AFTM Emerging Artists Exhibition Five artists inspired by personal journeys to healing, including Clinton Barker, Janice Crosbie, Anne Parker, Crystal Parry, and Michael Tichowitsch.
Michelle Vine, Contested Biography I (quadrat), detail, 2017, cyanotype on altered book, stitched, 138 x 216 cm. Mackay Regional Council Art Collection. Winner, Dalrymple Bay Coal Terminal Altered Book Award (acquisitive), Libris Awards, 2018. 14 April—20 September Contested Biography Michelle Vine 20 June—9 August Focus on the Collection: Michael Cook
venue, which also includes a separate pottery studio. 26 June—4 August A Day in a Life Lew Brennan Reality in art is an individual’s perspective and is indeed as much of an abstraction as any art form. Despite transgressing in its purpose from ritual to social commentary, realism as an art form is singularly capable of returning our attention to those simple pleasures in our daily life from where we were otherwise busy making other plans. The suites of art in this exhibition are offered as a conduit to that paradox. Physical Video art QAGOMA Artists Physical Video is an exhibition featuring examples of performance and theatricality in video art from the 1970s to the present day. Many of the video works demonstrate the resurgence of direct-to-camera performance. Echoed Rhythms Greg Kinman, Paula Bowie and Melissa McCullagh. Sculptor Greg Kinman and potters Paula Bowie and Melissa McCullagh come together in a joint exhibition that explores the dynamic rhythms of nature and time. Stories are shared by these artists in a bold use of clay, bamboo, wire and natural materials from the coastal dunes.
Sylvain Minier, Kamikaze EKKA, 2010, digital photograph. 26 July—18 September Amid the current global pandemic, the Ekka and many regional shows around the country have been cancelled for 2020. The photographic exhibition, Showtime, explores how the Ekka grounds look today through the eyes of the AFTM Foto Group members in contrast to artist Sylvain Minier’s bustling Ekka extravaganza snapshots. CALL OUT: 2020 Queensland Outsider Art Awards Up to $4,000 in prizes. Entries open from 1 June—31 July 2020. Check AFTM website for details.
Artspace Mackay www.artspacemackay.com.au Civic Precinct, corner Gordon and Macalister Streets, Mackay, QLD 4740 [Map 14] 07 4961 9722 Tue to Fri 10am–5pm, Sat to Sun 10am–3pm. Free entry. See our website for latest information.
Darren Bryant, Fold (volume 1), 2018, screen print on altered book, fold, buckram fabric cover, 24.6 x 18.4 x 6.8 cm. Mackay Regional Council Art Collection, purchased with Dalrymple Bay Coal Terminal Artists’ Book Fund 2018. 27 June—13 September 2020 Libris Awards: The Australian Artists’ Book Prize 15 August—18 October Finding the Funny: The Art of Judy Horacek
Butter Factory Arts Centre www.butterfactoryartscentre.com.au 11a Maple Street, Cooroy, QLD 4563 [Map 13] 07 5442 6665 Tue to Sun 10am–3pm. See our website for latest information. The Butter Factory Arts Centre is located in the Noosa hinterland at Cooroy, in a converted old butter factory that was built in 1930. The butter factory closed in 1975 and was purchased by Noosa Council for use as a community centre in 1991. In 2016 Noosa Council handed the management of the centre over to the community. The Butter Factory Arts Centre is run by the Cooroy Future Group as an exhibition, workshop and events
Saren Dobkins, If you Leave Me, oil on canvas. 7 August—8 September Where There’s Smoke Saren Dobkins Saren Dobkins presents a powerful series of 20 paintings that take us on a journey in response to the recent bushfires. They were a potent reminder of our fragility where the forces of Nature are concerned. Maleny Cream @ the Butter Factory Marvene Ash, David Bongiorno, Shannon Garson, Donald Greenfield, Peter Hudson, David Paulson, Laura Vecmane and Atto Zarzura. Maleny Cream @ the Butter Factory presents a dynamic group exhibition encompassing ceramics, sculpture, drawing and painting from nationally acclaimed and highly respected emerging artists. 195
The Elaine Bermingham National Watercolour Prize in Landscape Painting 2020
$30,000 IN PRIZES ENTRIES OPEN Monday, 18 May - Friday, 17 July 2020
griffith.edu.au/bermingham-prize
THE ELAINE BERMINGHAM IN LANDSCAPE PAINTING 2020
Queensland College of Art Grey Street Gallery 226 Grey Street South Bank, Brisbane 07 3735 6106
griffith.edu.au/bermingham-prize
Baboa Gallery www.omietapaartpng.com 5 Denning Street, The Gap, Brisbane, QLD 4061 By appointment only. 0401 309 694 joangwinter@gmail.com
one of the Sunshine Coast’s most accomplished ceramicists, Johanna DeMaine. This survey, covering five decades of practice, includes early functional ware, the decorative and ornamental, through to recent works incorporating new techniques and imagery that combine the influences of the Sunshine Coast and Japan.
GALA Gallery www.galagallery.com.au
Lyndon Davis. The Lore of the Land, 2018. 18 July—2 August First Nations Artwork exhibition drawn from the Sunshine Coast Art Collection holdings.
Dust Temple
Until 30 August Sor’e – Transformations from Mt Obo, Omie tapa artists PNG A new group Show of 15 mid career and emerging Omie tapa artists.
31 July—5 September Maranoa paintings Joanne Currie Isle of Dogs Alick Sweet
Baboa Gallery supports and represents the not for profit Omie Tapa Artists Inc. under the Omie Cultural Business Group PNG while they develop skills and knowledge aspiring to self sufficiency so they may eventually represent themselves as fine artists and become fully empowered. Baboa Gallery also has other tapa from across the Pacific and West Papua, East Timorese textiles, print art from the Torres Strait and wood art from PNG.
Jeremiah Siranumi, Hojihane, jaje, drum making tree and branches, 115 x 81 cm.
Joanne Currie, blood shield I, 2019, acrylic on canvas, 39 x 148 cm.
www.dusttemple.com.au 54 Currumbin Creek Road, Currumbin Waters, QLD 4223 0415 946 950 Mon to Sun 10am–4pm. See our website for latest information.
Level 1/35-37 Macaree Street, Berserker, QLD 4701 [Map 14] 07 4921 0241 Mon to Thurs 8am–6pm or by appointment. See our website for latest information. July Halcyon Earth Monique Morter Morter’s ethereal, effervescent landscapes are akin to the stuff of dreams. In her newest collection of works, Morter depicts the rocky boulders of the Australian landscape, transformed into crystalline beacons of wonder and fantasy. The sky lifts from the horizon to lighten the atmosphere with a sense of reverie in a blanket of opalescent blue, altogether conjuring a scene to quell all worry—depicting a charmed land of centuries past.
Caloundra Regional Gallery www.gallery.sunshinecoast.qld.gov.au 22 Omrah Ave, Caloundra, Sunshine Coast, QLD 4551 07 5420 8299 Tue to Fri 10am–4pm, Sat and Sun 10am–2pm. Closed public holidays. See our website for latest information.
Richard Janson, Place In Time.
Megan Puls. 5 July—2 August Incommon Jo Norton and Megan Puls
FireWorks Gallery Johanna DeMaine; the form : the function : the aesthetic exhibition opening. 17 June—12 July Johanna DeMaine; the form : the function : the aesthetic Johanna DeMaine An exhibition that celebrates the career of
www.fireworksgallery.com.au 9/31 Thompson Street, Bowen Hills, QLD 4006 [Map 15] 07 3216 1250 Tues to Fri 10am–6pm, Sat 10am–5pm. See our website for latest information.
29 August—2 October POP! Clinton Barker, Jasmine Crisp, Richard Janson, Veronika Zeil Think Yayoi Kusama or James Rosenquist. In a world that’s at times almost hyperreal, hi-fi and synthetic-aesthetic, we are exploring all things pop culture and pop art; projecting bright, dynamic themes to reflect this HD, 4K reality and its underlying notions. With the rise of ‘Instagrammable art’ in the form of dynamic, interactive art installations and bold, contrasting pieces, art is becoming both an immersive and ‘jolting’ experience. This exhibition will capture the viewer’s attention in jarring, comic book fashion, giving way to lasting impressions, and ultimately creating a dynamic atmosphere of clashing thought provocation with works that pop! 197
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Gallery 48 www.gallery48thestrandtownsville.com 2/48 The Strand, Townsville, QLD 4810 Wed, Fri and Sat 12noon–5pm. See our website for latest information.
Julian Day, ∑gg√e|n, Hannah Gartside, Mindy Gill, Kinly Grey, Susan Hawkins, Sally Olds, Amy Sargeant, and Des Skordilis. www.makingart.work.
Jan Murphy Gallery www.janmurphygallery.com.au 486 Brunswick Street, Fortitude Valley, QLD 4006 [Map 18] 07 3254 1855 Tues to Sat, 10am–5pm or by appointment. See our website for latest information.
Rhonda Stevens
Adam Lester, Saint Cloud, 2020, synthetic polymer paint on truck tarpaulin, 180 x 150 cm. 23 June – 11 July Islands Adam Lester 14 July – 1 August Changing Places Celia Gullett 4 August – 22 August Fred Fowler 25 August – 12 September Juz Kitson
Logan Art Gallery www.logan.qld.gov.au/artgallery From 8 June Making Art Work A commissioning initiative of the Institute of Modern Art, Making Art Work proposes an experimental role for the institution as administrators of economic stimulus for artists. Taking place across 2020—during and post COVID-19 lockdowns—the project will see over 40 artists create new works that reinforce the importance of creative labour in a time when the cultural and economic value of art has been diminished. First round commissioned artists, writers, and facilitators are: Tony Albert, Kieron Anderson, Mariam Arcilla, Richard Bell, 198
Workshop wonders XVIII
31 July—5 September Ka Korokī Nga Manu: The singing of the birds Mihimai Nikora
Institute of Modern Art 420 Brunswick Street (corner Berwick Street), Fortitude Valley, QLD 4006 [Map 15] 07 3252 5750 Free Entry. Tue to Sat 11am–6pm. See our website for latest information.
Twenty-twenty
Hoda Afshar, Portrait #6, 2015, archival pigment print, 91 x 122cm. Courtesy of the artist.
Ronda Stevens, Fragile Moving Boulders 2, collograph and stencil on paper.
www.ima.org.au
Annelize Mulder, Pursuit, 2018, PVC pipe, cotton, polyurethane, pigment, acrylic paint, electric component.
In Her Words A Horsham Regional Art Gallery touring exhibition Steam punk Rivermount College
Montville Art Gallery www.montvilleartgallery.com.au 138 Main Street, Montville, QLD 4560 [Map 13] 07 5442 9211 Daily 10am–5pm. See our website for latest information. Showcasing world-class original art from over 40 of the regions’ best artists, in the picturesque and historic town of Montville.
Corner Wembley Road and Jacaranda Avenue, Logan Central, QLD 4114 [Map 13] 07 3412 5519 Tues to Sat, 10am—5pm. See our website for latest information. 3 June—25 July Lace Mary Elizabeth Barron Vulnerable bodies Annelize Mulder Shibukawa and Logan Sister Cities children’s art exchange exhibition Whatever happens… happens! Icki Houseof
Wayne Malkin, Turbulence #52, oil on canvas, 90 x 200 cm. Wayne Malkin Malkin is a seascape, landscape and portrait artist who specialises in oils. His paintings are an expression of a single moment or subject which has captured his attention. The effect of light is a contant theme across his body
of work. He has undertaken numerous commissions for his seascape, landscape and portrait work.
End’s diverse community will be the place in Brisbane to experience the work of contemporary artists ranging from the emerging to the mid-career and the established.
Noosa Regional Gallery www.noosaregionalgallery.com.au Riverside, 9 Pelican Street, Tewantin, QLD 4565 [Map 13] 07 5329 6145 Tue to Fri 10am–4pm, Sat and Sun 10am–3pm. See our website for latest information.
6 July—29 August Kempan Menth (beautiful baskets) & Punth-Paam (Wik feather flowers) Rhonda Woolla
David Hinchliffe, Stepping Out, acrylic on canvas, 101 x 101 cm. David Hinchliffe Since his first one-man exhibition in 1976 in Toowoomba Australia at the age of 21, Hinchliffe has had more than 60 solo exhibitions including paintings, sculpture and photographs in locations around the world. Hinchliffe has travelled and painted widely in the United States and UK and is represented extensively in collections both in Australia and overseas. His work is principally oils and acrylics on canvas or linen, with a style that has been described as “contemporary impressionism”.
Metro Arts www.metroarts.com.au Metro Arts @ West Village 111 Boundary Street, West End [Map 15] Norman Park Substation No. 9, 97 Wynnum Road, Norman Park, QLD 4170 The Ferryman’s Hut, Teneriffe 29 Macquarie Street, Teneriffe QLD 4005 07 3002 7100 See our website for latest information.
Rhonda Woolla, Kempan, 2020, natural dyed pandanus and cabbage palm with gallah and pelican feathers and wire. Courtesy of the artist. Photographer: Michael Marzik.
6 July—5 September Ilan Lines Peter B Morrison 13 July—12 September Wakain Thanau Billy Missi
Eden Menta & Janelle Low, Eden and the Gorge, 2019, ink-jet print. Courtesy of the artists. Eden Menta is represented by Arts Project Australia. FEM-aFFINITY Fulli Andrinopoulos, Jane Trengove, Dorothy Berry, Jill Orr, Wendy Dawson, Helga Groves, Bronwyn Hack, Heather Shimmen, Eden Menta, Janelle Low, Cathy Staughton, Prudence Flint, Lisa Reid, Yvette Coppersmith.
NorthSite Contemporary Arts
6 August—26 September Disquiet: Ecological Anxieties & Transformations Robyn Glade-Wright and Barbara Dover
Onespace Gallery www.onespacegallery.com.au 349 Montague Road, West End, QLD 4101 [Map 15] 07 3846 0642 Wed to Fri 10am–6pm, Sat 11am–5pm or by appointment. See our website for latest information
www.northsite.org.au Bulmba-ja Arts Centre, 96 Abbott Street, Cairns, QLD 4870 [Map 14] 07 4050 9494 Mon to Fri 10am–5pm, Sat 10am–1pm. Apointments required through website.
Metro Arts @ West Village. Opening September 2020 Metro Arts @ West Village Metro Arts’ new home at West Village—set to officially open in September 2020—will present an annual program of contemporary and experimental performing and visual arts. This new hub for West
Peter B Morrison, THAG I (Mangrove Tree), 2019, pen and ink drawings on Hahnemuhle archival paper. Courtesy of the artist.
James Hornsby, Don’t get your hopes up, 2019, Digital UV print on acrylic, AP + Edition 1/1, 120 x 90 cm. Image courtesy of the artist and Onespace Gallery. 19 June—1 August 2020 Optimistically Omnivorous Guest curator: Martin Smith 199
ar t g ui d e .c o m . au Onespace Gallery continued...
22 May—19 July The Percival Portrait Prize
Optimistically Omnivorous is a small yet potent survey exhibition of photographic artists who were either born in or later moved to, and are influenced by or critical of, the locale of Queensland. This exhibition is part of Onespace Gallery’s ongoing annual commitment to the photographic community of Queensland. It seeks to present new work from diverse voices on a unique place.
The biennial Percival Portrait Prize is North Queensland’s own portrait competition. The prize includes three categories; the Percival Portrait Painting Prize, the Percival Photographic Portrait Prize, and the Percival Animal Portrait Prize. Having begun in 2007, The Percivals is an open competition for artists, local and international, and has given many emerging artists an opportunity to engage with portraiture and share their expressions of themselves and those close to them. This year, all three prizes will be held at Perc Tucker Regional Gallery, with the total prize money totalling $54,000.
7 August—12 September Pause Sebastian Moody Pause is the latest suite of language-driven paintings by Sebastian Moody. He is best known for creating some of Brisbane’s most memorable public artworks, Keep the Sunshine (Brisbane International Airport) and THE MORE I THINK ABOUT IT THE BIGGER IT GETS (Fortitude Valley). These new works continue in the traditions of concrete poetry and 1960s conceptual art.
21 July–15 August Neil Frazer 18 August–12 September Robert Dickerson
Pine Rivers Art Gallery www.moretonbay.qld.gov.au/ pinerivers-gallery
Outback Regional Gallery, Winton
Unit 7/199 Gympie Road, Strathpine, QLD 4500 [Map 13] 07 3480 6941 moretonbay.qld.gov.au/ pinerivers-gallery
www.matildacentre.com.au Waltzing Matilda Centre, 50 Elderslie Street, Winton 4735 [Map 14] 07 4657 2625 Mon to Fri 9am–5pm, Sat and Sun 9am–3pm. See our website for latest information.
Philip Hart, Mae, 2017, hand-built terra cotta with underglaze painting, 35 x 20 x 18 cm. Finalist in the North Queensland Ceramic Awards 2018, Pinnacles Gallery, Townsville. Image courtesy of the artist and Townsville City Galleries. 31 July—20 September North Queensland Ceramic Awards The biennial North Queensland Ceramic Awards has long aimed to increase public exposure to a high standard of pottery from around the nation. A showcase for both well-known and emerging artists, this competition displays the diversity of ceramic art currently being produced in Australia and overseas.
Photograph by Colin Beard. Until late August A Portrait of Australia: Stories Through the Lens of Australian Geographic A travelling exhibition from the National Museum of Australia developed in collaboration with Australian Geographic.
Perc Tucker Regional Gallery www.townsville.qld.gov.au Cnr Flinders and Denham streets, Townsville, QLD 4810 [Map 14] 07 4727 9011 Mon to Fri 10am–5pm, Sat and Sun 10am–2pm. 200
Neil Frazer, Tide pool, Cape Byron, 2020, acrylic on canvas, 137 x 137 cm.
The City of Townsville Art Collection Award of $10,000 continues to provide both opportunity for artists to become a part of one of the nation’s most significant ceramic collections, as well as ensuring the continued growth of this important subsection of the City of Townsville Art Collection. Selected works will be on display at Perc Tucker Regional Gallery from 31 July - 20 September 2020 and will be eligible in various categories beyond the major City of Townsville Art Collection Award.
Philip Bacon Galleries www.philipbacongalleries.com.au 2 Arthur Street, Fortitude Valley, QLD 4006 [Map 18] 07 3358 3555 Tues to Sat 10am–5pm. See our website for latest information
Pinnacles Gallery www.townsville.qld.gov.au Riverway Art Centre, 20 Village Boulevard, Thuringowa Central, QLD 4817 [Map 17] 07 4773 8871 See our website for latest information. Pinnacles Gallery and Riverway Art Centre are currently closed until further notice due to the recent extreme weather event. These facilities will be undergoing repair until it is safe for residents to use.
Queensland Art Gallery | Gallery of Modern Art www.qagoma.qld.gov.au Stanley Place, South Brisbane, QLD 4101 [Map 10] 07 3840 7303 Daily 10am–5pm. Free entry. See our website for latest information. Until 22 August Mavis Ngallametta: Show Me the Way to Go Home Mavis Ngallametta (1944–2019) made a profound contribution to arts and culture nationally and particularly in Queensland, her home state. An elder of the Putch clan and a cultural leader of the Wik and Kugu people of Aurukun, Mavis Ngallametta
Nici Cumpston, Listening to the river, 2005–19, backlit transparent archival film (lightbox), edition of 5 + 2AP. Courtesy of the artist and Michael Reid Gallery, Sydney. 16 June—16 August QUT Art Museum: Rite of Passage Glennys Briggs, Megan Cope, Nici Cumpston, Karla Dickens, Julie Gough, Lola Greeno, Leah King-Smith, Jenna Lee, Carol McGregor, Mandy Quadrio, and Judy Watson. Damien O’Mara, Bunga Kelana 8, detail, 2019, inkjet print on photo-rag. Courtesy of the artist. Mavis Ngallametta, Kugu-Muminh people, Putch clan, Australia QLD 1944-2019, Flowers on the swamp (paamp), 2012, Natural ochres and charcoal with acrylic binder on linen, 95 x 140cm. Collection: John Conroy. © The estate of Mavis Ngallametta, Photograph: Carl Warner.
William Robinson, Drinkers and reflections, 2017, oil on linen. QUT Art collection. Purchased 2018. Mavis Ngallametta, Kugu-Muminh people, Putch clan, Australia QLD 1944-2019, Yalgamulchen #2, 2012, Natural earth pigments and charcoal with synthetic binder on canvas / 200 x 300cm. Purchased 2012. Collection: National Gallery of Australia. © The estate of Mavis Ngallametta. Image courtesy: National Gallery of Australia. was one of the most well-regarded senior community-based artists in Australia. This exhibition will survey a decade of the artist’s intricate and animated paintings, bringing together major works from her Pamp/Swamp, Kendall River, Wutan, Ikalath, Yalgamunken, intertidal estuary and powerful bushfire series for the first time. This will be a powerful aesthetic experience and great insight into life on Mavis Ngallametta’s country.
2 July—June 2021 William Robinson Gallery: William Robinson: By the Book An immersive exhibition experience accompanied by a virtual tour.
Redcliffe Art Gallery www.moretonbay.qld.gov.au/ redcliffe-art-gallery 470–476 Oxley Avenue, Redcliffe, QLD 4020 [Map 15] 07 5433 3811 See our website for latest information.
Redland Art Gallery, Cleveland www.artgallery.redland.qld.gov.au
QUT Art Museum www.artmuseum.qut.edu.au QUT Gardens Point Campus, 2 George Street, Brisbane, QLD 4000 [Map 15] 07 3138 5370 Tues to Fri 10am–5pm, Sat and Sun noon–4pm. See our website for latest information.
Corner Middle and Bloomfield steets, Cleveland, QLD 4163 [Map 16] 07 3829 8899 Mon to Fri 9am–4pm, Sun 9am–2pm. Admission free. See our website for latest information. 9 August–6 September Port Damien O’Mara
Dennis McCart, Some kind of nature, detail, 2019, oil on linen on hardboard. Courtesy of the artist. 9 August–6 September Contested Landscapes Dennis McCart
Redland Art Gallery, Capalaba www.artgallery.redland.qld.gov.au Capalaba Place, Noeleen Street, Capalaba, QLD 4157 [Map 16] 07 3829 8899 See our website for latest information. Our exhibition program is showcased in six exhibition spaces over two locations at Cleveland and Capalaba. RAG programs extend to island and mainland locations and our policy is to resource and present a professionally managed visual art exhibition facility which has an annual calendar of exhibitions and public programs that provide opportunities for the Redlands Coast community and visitors to the Redlands Coast to access and engage with the visual arts. 201
ar t g ui d e .c o m . au 30 July—7 August Colour Ensembles Louise Isackson
Redland Art Gallery continued...
Intensely rich and luminous colour is at the heart of an expressionist approach to painting. Hovering between abstraction and realism, Isackson paints with vibrant colour and shimmering brushstrokes to express the concept of ensembles of colour, light and form.
Colin Beard, Along the Birdsville track near Birdsville QLD. Courtesy of the artist. 23 May—11 July A Portrait of Australia: Stories through the lens of Australian Geographic Features a stunning display of large-format photographic print and unites the expertise of Australian Geographic’s acclaimed photographers and the National Museum’s interpretive storytelling experience. The exhibition celebrates the coast and the people who live and work there. Featuring works from the Australian Geographic archive, it will transport you to some of the most rugged and remote parts of the country.
Sarah Sculley and Lara Furst, Placemaking landscape, detail, 2019, mixed media. Courtesy of the artists. 18 July–1 September Placemaking Sarah Sculley and Lara Furst
Rockhampton Art Gallery www.rockhamptonartgallery.com.au 62 Victoria Parade, Rockhampton, QLD 4700 [Map 17] 07 4936 8248 Find us on Facebook See our website for latest information. 1 October 2019–31 August (online) engAGEing through ARTing Podcast and Film series 15 Queensland artists practicing across a variety of mediums share their stories. 202
Artist studio visit with Brendon Tohill (2019), engAGEing through ARTing program.
Kitty Horton, Sheets, oil on canvas, 2020, 51 x 61 cm. 13 August—21 August Interior Form Kitty Horton Interior Form is the latest series of work by Kitty Horton, which is predominantly using a muted black, white and green palette, flattening further the objects we have placed decoratively in our homes, such as ceramics and plant life. In this new colour palette exploration, Horton delivers a textural, semi abstracted glance into the three dimensional forms we designate in our personal interiors, further examining the relationship between drawing, painting and object.
Children make an array of colourful and creative artworks at Messy Mondays. From 1 June (online) Messy Mondays Online With artist educator Ainslie McMahon. Spend some quality time nurturing your little ones while exploring and creating art in the comfort of your own home. Messy Mondays activities are designed to enrich children’s creativity and awareness of the visual world around them while also helping to develop fine motor skills. Enjoy a new song, story time and art activity every month.
Side Gallery www.sidegallery.com.au The Garden Studio, 7 Emma Street, Red Hill, QLD 4059 [Map 15] Wed to Fri 10am–5pm, Sat 10am–1pm (during exhibition period). See our website for latest information.
Toowoomba Regional Art Gallery www.tr.qld.gov.au 531 Ruthven Street, Toowoomba, QLD 4350 [Map 16] 07 4688 6652 Tues to Sat 10am–4pm, Sun 1pm–4pm. Closed Mon & Public Hols. Free entry. See our website for latest information. Toowoomba Regional Art Gallery was established in 1937, making it the oldest public art gallery in regional Queensland. In 1994, the gallery relocated from Toowoomba City Hall into its own purposely-refurbished, award-winning facility next door. Breaking News: Captain Cook in 2020 Toowoomba Regional Art Gallery is currently closed and will reopen with this exhibition.
expressive and immediate gestures of the artist’s hand. This exhibition brings together a small selection of works from Toowoomba Regional Art Gallery –Toowoomba City Collection that use the figure as subject. In drawing attention to the connections between different portrayals of the figure, the perspectives of both the viewer and the maker become integral to the image.
Umbrella Studio
UQ Art Museum is a site for progressive and contemporary artistic inquiry. Our work speaks to the distinct context of the Art Museum’s place within the University. We aim to connect each visitor with new ideas in creative practice, and with learning in its many forms. UQ’s mission is to create change that positively influences society by engaging in the pursuit of excellence through the creation, preservation, transfer and application of knowledge. We aspire to make Aboriginal and Torres Strait Islander knowledges an integral component of this mission.
www.umbrella.org.au
Rew Hanks, Cook’s curios, 2012, linocut, 51 x 42 cm. Toowoomba Regional Art Gallery – Toowoomba City Collection 2332. Reproduced by kind permission. Captain James Cook’s three historic voyages across the Pacific Ocean 17681780 are breaking news – especially in Australia this year. New information, interpretations and images about his voyages make them not simply past events but also currently occurring and developing stories. This exhibition showcases original engravings from the Lionel Lindsay Gallery and Library Collection’s extensive holdings of Cook literature as well as contemporary artworks that present alternative and Indigenous views of Cook’s voyages.
408 Flinders Street, Townsville, QLD 4810 07 4772 7109 Mon to Fri 9am–5pm Sat and Sun 9am–1pm. See our website for latest information.
Mel O’Callaghan, Centre of the Centre, 2019, installation view UQ Art Museum, courtesy of the artist and Kronenberg Mais Wright, Sydney; Galerie Allen, Paris; Belo-Galsterer, Lisbon. Photo: Simon Woods. 22 February—16 January 2021 Centre of the Centre Mel O’Callaghan This new body of work traces the origins of life and its regenerative forces and captures the circulatory motion of breath in response to extreme environments. Stephen Coutts, Dream House Rosewood, rosegum timber and wire, 41.5 x 39 x 9 cm. 27 June—9 August Pareidolia and the Subconscious Stephen Coutts
22 February—16 January 2021 To Speak of Cities Sam Cranstoun Large-scale, text-based window commission and exhibition considers future cities, their inhabitants and the legacy we’re leaving as communities. Front window commission 22 February–16 January 2021.
Neil Binnie, Colour Study (Flinders St East #1), 2019, oil on paper, collage, 14 x 31.5 cm.
Irene Amos, React repent (refresh repeat), c. 1975, charcoal on paper. Toowoomba Regional Art Gallery – Toowoomba City Collection 365. Reproduced by kind permission. Object / Subject: Figure studies from the collection Toowoomba Regional Art Gallery is currently closed and will reopen with this exhibition. Figure studies have played a significant role in Western art. Sometimes in the gallery setting these studies are treated like finished works of art, although that may not have been the artist’s intention. Regardless of their status they capture
27 June—9 August Urban Construct Neil Binnie
UQ Art Museum www.art-museum.uq.edu.au Building 11, University Drive, The University of Queensland, St Lucia, QLD 4067 [Map 15] 07 3365 3046 Mon to Sat 10am–4pm, Wed 10am–8pm. Closed Sunday and public holidays. See our website for latest information.
Eugene Carchesio, Words explode into the mysteries of space, 2012 (detail), watercolour, seven parts, each 15 x 14.5 cm. Collection of The University of Queensland, purchased 2013. Courtesy of the artist. Photo: Carl Warner. 21 March—16 January 2021 Music of Spheres Lincoln Austin, Eugene Carchesio, Daniel Crooks, Michaela Gleave, Tjungkara Ken, Peter Kennedy, Lindy Lee, Dylan Martorell, Leonie Pootchemunka and Rosalind Atkins, Koji Ryui, Sandra Selig, David Stephenson and Guan Wei. An exhibition evoking a constellation of ideas relating to cosmic mysticism, spirituality, imagined worlds, parallel universes and hidden forces. 203
A–Z Exhibitions
JULY/AUGUST 2020
Australian Capital Territory
Federation Square, Kingsley Street,
Rosevear Place, Treloar Crescent, Ainsle Avenue, Wentworth Avenue,
London Circuit, Blaxland Crescent,
Wentworth Avenue, Kennedy Street,
Parkes Place, King Avenue,
King Edward Terrace, Anzac Parade,
Kendall Lane, Reed Street,
Manuka Circle, Aspinall Street
AUSTRALIAN CAPITAL TERRITORY
Aarwun Gallery www.aarwungallery.com 11 Federation Square, Gold Creek, Nicholls, ACT 2913 [Map 16] 02 6230 2055 Daily 10am–5pm and by appointment in the evening. See our website for latest information. We represent some of Australia’s finest classical landscape and portrait artists as well as carrying a wide portfolio of contemporary works. Norman Lindsay, Pro Hart and David Boyd sit alongside exquisite works from the indigenous community. Paintings, printmaking, ceramics, glass, bronze and sculpture; we embrace the endless diversity of the best which Australia has to offer.
Ken Knight, White Gums and Wattle, oil on board, 122 x 120 cm. 31 July—31 August Milestones Celebrating 20 years and the anniversary of Aarwun Gallery and over 40 years of Ken Knight exhibiting as an artist.
Artists Shed www.artistsshed.com.au 1–3/88 Wollongong Street (lower), Fyshwick, ACT 2609 0418 237 766 Open daily 9am–5pm, Sun 10am–4pm. Canberra’s largest private gallery.
Exhibiting the fine Art of Margaret Hadfield-Zorgdrager on a permanent basis and also a large collection of antique and reloved artworks which have been collected in response to the discarding of our culture. Folk Art, needlework, Marquetry are all appreciated here. This privately run gallery is a celebration of Australian history and culture through art. In the heart of industrial Canberra. Bohemian coffee available.
Australian National Capital Artists (ANCA) Gallery www.anca.net.au 1 Rosevear Place (corner Antill street), Dickson, ACT 2602 [Map 16] 02 6247 8736 See our website for latest information.
Julie Mia Holmes and Elaine Camlin, Body of Matter, 2020. 14.5 cm diameter, paper size 30 x 21 cm. Unique State. Etching with Softground and spit bite. Photo by Julie Mia Holmes. 24 June—8 July Bodies of Matter Elaine Camlin, Julie Mia Holmes
Paintings and works on paper .
Sophia Szilagyi, Sydney botanical 4, digital pigment ink on archival rag paper. 23 July—9 August Sophia Szilagyi
29 June—19 July Artist in Residence Natsuko Yonezawa
Prints.
22 July—9 August Artist in Residence Jacqui Malins
Works on paper.
12 August—30 August Supernatural Light Affinity Yvette Hamilton, Ali Noble, Lisa Sammut, Helen Shelley
Beaver Galleries www.beavergalleries.com.au 81 Denison Street, Deakin, Canberra, ACT 2600 [Map 16] 02 6282 5294 Tue to Sun 10am–5pm. See our website for latest information.
Margaret Hadfield-Zorgdrager, detail, triptych.
Nicola Dickson, Imagining Malmaison, sulphur-crested cockatoo, acrylic and oil on linen, 76 x 76 cm. 23 July—9 August Voyagers’ Tales – Baudin Nicola Dickson
Canberra’s largest private gallery featuring regular exhibitions of contemporary paintings, prints, sculpture, glass and ceramics by established and emerging Australian artists.
13 August—30 August Melinda Schawel 13 August—30 August Jenny Orchard Ceramics and works on paper.
Canberra Glassworks www.canberraglassworks.com 11 Wentworth Avenue, Kingston ACT 2604 [Map 16] 02 6260 7005 See our website for latest information. 13 June–27 September Duty of Care Tony Albert Albert’s practice is currently built around a collection of Aboriginalia which he began collecting in the 1980s and he has a strong connection to the three205
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anca.net.au
AUSTRALIAN CAPITAL TERRITORY Canberra Glassworks continued...
M16 Artspace www.m16artspace.com
Tony Albert. Courtesy of the artist and Sullivan + Strumpf, Sydney. dimensional object and decorative arts. Building on the body of work created for Visible, QAGOMA, 2018.
Blaxland Centre, 21 Blaxland Crescent, Griffith ACT 2603 [Map 16] 02 6295 9438 Wed to Sun noon–5pm. See our website for latest information. 23 July—9 August M16 Does Pizza M16 Studio Artist’s Exhibition
Humble House Gallery www.humblehouse.com.au 93 Wollongong Street, Fyshwick, ACT 2609 [Map 16] 02 6228 1988 Wed to Sun 10am–4pm. See our website for latest information. L Hanna, Blue Pools, 2017, acrylic on canvas, 30 x 42 cm. Photo courtesy of the artist. 13 August—30 August On Show Members of Canberra Art Workshop 13 August—30 August Unstill Life Justine McLaren
Isobel Rayson, Somehow Somewhere, 2020, woodblock carving, 29.4 x 23.1 cm unframed. Photography by David Peterson.
Humble House is known for its collection of Chinese antiques alongside contemporary art. Selected artists from GOST were invited to express themselves with small and large works in a traditional Chinese setting. Artists include Ellen Rosalie Gunner, Amy Hick, Pia Larsen, Jacqueline Lewis, Nic Mason, Phil Page, Isobel Rayson, David Suckling, Amanda Westley. The exhibition opens online at 8pm, Thursday 9 July 2020. Personal preview visits are welcome from 10am, Wednesday 8 July.
14 March—March 2021 XU ZHEN® XU ZHEN® is one of China’s most significant artists and activists. In 2009, he founded MadeIn Company, and later established himself as the brand XU ZHEN®. His recent work centres on sculptural installations, video and performances that challenge cultural assumptions, question social taboos and comment on the idea of art as a commodity. This is the artist’s first solo exhibition in Australia. The show includes the performance work In Just a Blink of an Eye 2005/2020, which features four performers impossibly ‘frozen’ in the act of falling over, as well as European Thousand-Armed Classical Sculpture 2014 and other monumental sculptures. 22 June—26 January 2021 The Body Electric
Until 2 August Small and Humble Contemporary Australian art visits traditional China at Humble House gallery. This is a collaborative exhibition between the Gallery Of Small Things (GOST) and Humble House gallery. GOST is Canberra’s tiniest walk-in gallery showcasing emerging through to established artists.
XU ZHEN®, European Thousand-Armed Classical Sculpture, 2014, glass-fibrereinforced concrete, marble grains, marble, metal. White Rabbit Collection, Sydney. Image courtesy of White Rabbit Gallery, Sydney.
Jess Higgins, Over Head #4, detail, 2020, charcoal from one tree beach on hahnemuhle paper. Photo courtesy of the artist. 13 August—30 August OVER HEAD Jess Higgins
National Gallery of Australia www.nga.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6240 6411 Daily 10am–5pm.
The Body Electric presents the work of women-identifying artists on the subjects of sex, pleasure and desire. The exhibition features key works by some of the pioneers of photography and video, including Polly Borland’s bodies wrapped in stockings, Nan Goldin’s personal and candid images of friends and a video by Cheryl Donegan examining clichés of women’s sexuality. The images in this exhibition show how sex, love and loss are an animating part of the human experience. Ongoing Belonging This major collection presentation recasts the story of nineteenth-century Australian art. Informed by the many voices of Indigenous and non-Indigenous cultures and communities, the display reconsiders Australia’s history of colonisation. It draws together historical and contemporary work created by more than 170 artists from across Australia. 207
ar t g ui d e .c o m . au National Gallery of Australia continued... Ongoing Devotion Nature Time People
Until 26 July National Photographic Portrait Prize Group exhibition
Dating from as far back as 2,500 BCE right up to the contemporary era and created across a vast area that stretches from Indonesia to Turkey and from Mongolia to Roti Island, the works in this new collection display represent many different nations and cultures. Structured around four themes – ‘Devotion’, ‘Nature’, ‘People’, and ‘Time and Place’ – the display explores Asian art across geography, time, religion and culture.
30 July–29 August Split Chris Bowes Bowes presents an interactive, surprising and sometimes disturbing multi-screen installation. Highlighting and caricaturing the omni-presence of screens in our lives, Split invites visitors to notice how these technologies reflect–and distort–our images of ourselves.
National Library of Australia
Aberration Jacinta Giles
www.nla.gov.au Parkes Place, Canberra, ACT 2600 [Map 16] 02 6262 1111 Open daily 9am–5pm. See our website for latest information.
Anthea da Silva, Elizabeth, 2019. Until 26 July Darling Portrait Prize Group exhibition Until 1 November Ngalim-Ngalimbooroo Ngagenybe (From my women) Shirley Purdie
PhotoAccess Huw Davies Gallery www.photoaccess.org.au Manuka Arts Centre, 30 Manuka Circle, Griffith ACT 2603 [Map 16] 02 6295 7810 Tues to Sat 10–4pm. See our website for latest information. Harold Cazneaux, Going Home, North Sydney, New South Wales, 1910. Coming soon Australian Dreams: Picturing Our Built World Reflecting our progress, social ideas, understanding of the world and how we have changed over time, Australian Dreams: Picturing Our Built World shows how artists have documented, interpreted and celebrated a variety of buildings through images.
PhotoAccess is the ACT and region’s centre for photography, film and media arts. We present a dynamic annual program of exhibitions showcasing local, Australian and international artists practicing across diverse forms of contemporary photo-media. Find our exhibitions in our physical Huw Davies Gallery and in our new online space.
Forgotten Horizon Victoria Wareham Wareham presents ground-breaking video/installation works de-constructing the layers of film-making to explore how screens mediate–create fluid new conditions of being–between viewers and images.
Tuggeranong Arts Centre www.tuggeranongarts.com 137 Reed Street, Greenway, ACT 2901 [Map 16] 02 6293 1443 Mon to Fri 10am–6pm, Sat 10am–4pm. See our website for latest information
Martin Ollman, Canberra Hospital COVID Pathology Unit, 2020, digital image. Courtesy of the artist. 25 July—5 September Plagued: Canberra’s COVID Response Martin Ollman, Marissa McDowell, Anna Georgia and Shannon Hanrahan
www.portrait.gov.au
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Aberration interrogates how, in our hyper-mediated world, we know when fiction becomes reality, and vice versa. Through experimental photographic processes taking their cue from the operations of memory, Giles re-claims the aesthetics of television narrative to envelope viewers in a visual sensorium of (re)coded language.
25 June–25 July Shadows and Consequences Vic McEwan
National Portrait Gallery King Edward Terrace, Parkes, ACT 2600 [Map 16] 02 6102 7000 Daily 10am–5pm. Disabled access. See our website for latest information.
Incorporating video, sound and print works developed through emplaced projection performances, Shadows and Consequences reveals people’s impacts on environments and explores how art can help de-colonise our relationships with places.
Chris Bowes, Tesselate, 2019, computer, monitors, cables, webcam and code, dimensions variable.
A–Z Exhibitions
JULY/AUGUST 2020
Tasmania
Albert Road, Hunter Street,
Wilmot Street, Elizabeth Street,
Tasma Street, Salamanca Place, Harrington Street, Davey Street,
Main Road, Maquarie Street,
Castray Esplanade, Stewart Street,
Liverpool Street, George Street, Dunn Place, Murray Street
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Bett Gallery www.bettgallery.com.au Level 1, 65 Murray Street, Hobart, 7000, TAS 03 6231 6511 Mon to Fri 10am–5.30pm, Sat 10am–4pm. See our website for latest information. 3 July—26 July TBC
Until 31 July A Decade Later: the Pulp Story Presented to mark the monumental shift in the fabric of Burnie by the closure of the Associated Pulp and Paper Mills Ltd (APPM). APPM began production in 1938 and was particularly important during WWII. In the 1990’s onward a change in markets, industrial troubles, a change of owners, the sale of forests and the particle board mill and the closures of papermakers, hardboard and pulp mills eventually led to the mill’s closure in 2010.
Chen Ping, Green Light, Red Flowers, 2019, oil on canvas, 182.8 x 152.5 cm. 14 July—27 July Muse Chen Ping 28 July—10 August Islands Luke Wagner
Pat Brassington, Combed, 2020, pigment print, 75 x 75 cm. 31 July—22 August Picturing Pat Brassington Breaking Horizons Amber Koroluk-Stephenson
Burnie Regional Art Gallery www.burniearts.net Burnie Arts and Function Centre, Wilmot Street, Burnie TAS 7320 03 6430 5875 Mon to Fri 10am–4.30pm, Sat, Sun and public holidays 1.30pm–4pm. Free admission. See our website for latest information. From the 22 June the Burnie Regional Art Gallery will be open 10am till 4.30pm three days a week – Monday, Wednesday and Friday – with limited number of visitors allowed in at one time. Entry is free but visitors please book through Burnie Tickets. Patrons will be asked to respect social distancing rules and comply with hand sanitising on entering and leaving.
2018 paper on skin Betta Milk Major Award. Svenja, Lichen Morphology. Photo: Grant Wells Photo. 1 July—31 July Paper On Skin A biennial exhibition showcasing wearable art made of paper. 1 July—31 July Studio Polixenni: Runway A photographic exhibition featuring over 30 stunning images from a selection of glittering fashion events in Australian and the USA, documenting runway glamour, sophisticated portraits and intimate backstage moments. 7 August—17 September ArtRage 2019 Outstanding work by senior school and college students from around Tasmania. A touring exhibition from the Queen Victoria Museum and Art Gallery.
Colville Gallery
Leanne Halls, Pomegranates and Green Ginger Vase, oil on linen, 30 x 30 cm. 11 August—24 August New Works Leanne Halls
Contemporary Art Tasmania www.contemporaryarttasmania.org 27 Tasma Street, North Hobart TAS 7000 [Map 17] 03 6231 0445 Wed to Sun, noon–5pm. See our website for latest information.
www.colvillegallery.com.au 91 Salamanca Place, Hobart TAS 7000 [Map 17] 03 6224 4088 Daily 10am–5pm. See our website for latest information. Tony Thorne, June 15, 2010, 9pm, detail, watercolour, 2011. 210
30 June—13 July Temporary Things Sebastian Galloway
Takani Clark, Home Is Where Your Heart Is, 2020, video still.
TASMANIA 25 July—6 August Re-member Selena de Carvalho, Takani Clark, Georgia Morgan Curated by Caitlin Fargher for the 2020 CAT Curatorial Mentorship.
Devonport Regional Gallery
20 March—15 November This is Us Local young people of Devonport explore Australian cultural identity using imagery and text. Artworks in a range of media investigate personal symbolism and language to communicate self-identity, cultural concerns, attitudes, values and beliefs. Curated by Debbie Qadri.
paranaple arts centre, 145 Rooke Street, Devonport, TAS 7310 03 6420 2900 Mon to Fri 7.30am–4.45pm, Weekends and pub hols 7.30am–2pm. See our website for latest information.
This exhibition features works by Tasmanian photographers, including portraiture, landscape photography and photographs of urban spaces. These works explore the natural Tasmanian environment, the urban spaces built within this environment, and how we create our own places within it. The exhibition also includes works by Tasmanian photographers whose interests and experiences have drawn them overseas, these contrasting images highlighting the uniquely Tasmanian experience of place. Curated by Erin Wilson.
www.handmark.com.au 77 Salamanca Place, Hobart, TAS 7000 [Map 17] 03 6223 7895 Mon to Fri 10am–5pm, Sat and Sun 10am–4pm. 19 June—6 July Still Life Handmark artists
www.devonportgallery.com
29 February—15 November Portrait of a Place Julia Davis, Peter Dombrovskis, Lisa Garland, David Martin, Ricky Maynard, Geoffrey Parr, Troy Ruffels, Ilona Schneider and Brian Sollors.
Handmark
10 July—27 July Landscape Exhibition Handmark artists
Rodney Pople, Early morning north west Tasmania, 2018, oil and archival ink on linnen, 90 x 130 cm. Donated through the Australian Government’s Cultural Gifts Program. 13 July—20 September Recent Acquisitions Rodney Pople, Anton Holzner, Kelly Austin, Lisa Garland, Gary Greenwood, Jessie Pangas, Neridah de Jong, Gerald Makin, Katherine Hattam, Anne Morrison and Joel Crosswell The Devonport Regional Gallery has since 2011 focused on acquiring works by Tasmanian artists to build a Permanent Collection that is a unique and accumulative record of professional artistic activity within Tasmania.
Clifford How, Macquarie Rising, 2020, oil on linen, 107 x 107 cm. 21 August—14 September Clifford How New paintings
Devonport Regional Gallery → Ilona Schneider, Untitled [Spirit of the Present Age], 2015, chromajet metallic pearl print, DCC Permanent Collection. 211
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Penny Contemporary www.pennycontemporary.com.au 187 Liverpool Street, Hobart, TAS 7000 [Map 17] 0438 292 673 See our website for latest information. Lucienne Rickard, Extinction Studies, 2019, graphite on paper. bring attention to the critical issue of species extinction through the act of drawing and erasure. 6 December 2019—18 October Argyle Galleries 1-4: West: Out on the Edge A captivating multidisciplinary exhibition that showcases the state’s distinctive, complex and compelling west, exploring how people have shaped this unique region and, in turn, been shaped by it. Visitors will learn about the west’s defining natural elements and discover the stories of the people who have made their home in this rugged environment. They’ll also be able to delve into the west’s industrial history and be inspired by the region’s landscapes like countless artists past and present.
Junko Go, Are Zebra’s stripes black on white or white on black?, 2020, acrylic, oil pastel, charcoal on canvas, 105 x 80 cm. 31 July—17 August Junko Go New paintings.
Museum of Old and New Art (Mona) www.mona.net.au 655 Main Road, Berridale, Hobart, TAS 7000 03 6277 9900 Wed to Mon 10am—6pm. See our website for latest information.
Maz Dixon, Sweeties 5. We offer exhibition representation and curatorial opportunities to local, national and international artists at all career stages. Our exhibitions and events comprise of a broad range of art and community collaborations that aim to invigorate the audience’s experience of contemporary art and culture.
Queen Victoria Museum & Art Gallery www.qvmag.tas.gov.au Museum: 2 Invermay Road, Launceston, TAS 7248 Art Gallery: 2 Wellington Street, Launceston, TAS 7250 03 6323 3777 See our website for latest information.
Ryoji Ikeda, Spectra, Photo Credit: Mona/ Jesse Hunniford. Image Courtesy MONA Museum of Old and New Art, Hobart, Tasmania, Australia. Every Saturday from sunset until sunrise spectra Ryoji Ikeda 49 xenon searchlights that project beams of light 15km upwards into the night sky. The artwork will run from sunset to sunrise every Saturday night until Mona reopens. The artwork will also be live streamed via Mona’s website and YouTube channel. Livestream link: mona.net.au/spectra-live-stream
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Tasmanian Museum and Art Gallery www.tmag.tas.gov.au Dunn Place, Hobart, TAS 7000 [Map 17] 03 6165 7000 Open Tues to Sun, 10am–4pm. Free entry, bookings required. See our website for latest information. 6 September 2019—1 September Link Foyer: Extinction Studies Extinction Studies is a twelve-month daily durational performance by Tasmanian artist Lucienne Rickard who seeks to
Stephanie Dean, Banksia marginata (Honeysuckle), Rotary Park, Evandale, 1999, gouache on paper. Presented by the artist, 2017. 23 June—22 November Salon Gallery: Exquisite Habits: the Botanical Art of Stephanie Dean Tasmanian artist Stephanie Dean has devoted her life to painting the state’s unique native flora. Her careful attention to detail has provided scientifically accurate and exquisitely beautiful illustrations that offer jewel-like meditations on plants and place. This exhibition showcases some of the large body of her work recently donated to TMAG. 20 December—Ongoing Henry Hunter Gallery 6: This Too Shall Pass This Too Shall Pass showcases portraits and self-portraits, along with still-life paintings and artefacts from TMAG’s Art Collection that reflect on impermanence and the inevitable transience of life, beauty and material things.
A–Z Exhibitions
JULY/AUGUST 2020
South Australia
Mulberry Road, North Terrace, South Road, Porter Street,
Diagonal Road, Melbourne Street, Rundle Street, Pirie Street,
Portrush Road, Morphett Street, Sixth Street, Gibson Street,
Thomas Street, Kintore Avenue,
King William Road, Grenfell Street
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ACE Open www.aceopen.art Lion Arts Centre, North Terrace (West End) Kaurna Yarta, Adelaide, SA 5000 [Map 18] 08 8211 7505 Tue to Sat 11am–4pm.
An exhibition of artists who use sleep as a process or material in the fabrication of their work. 3 August–15 September Ancient and Modern Mary-Jean Richardson
AIARTS Australian and International Arts www.aiarts.com.au 28 Neate Avenue, Belair, SA 0477 174 040 Open during exhibitions Fri, Sat and Sun 12noon–5pm or by appointment.
Paul Maheke, Tout en sollicitant le soleil (cupola 1/2), single channel digital video. Image courtesy of the artist. 8 May—17 July recess presents Featuring work by: Paul Maheke, Nunzio Madden, James Nguyen, Aaron Claringbold and Rebecca McCauley, Georgia Button, Warmun Art Centre, Avni Dauti & Rebecca Vaughan, Grace Herbert, Martine Syms and Liang Luscombe. For this exhibition, recess draws from diverse points across the lands that make up contemporary Australia to showcase artists who explore documentary and fiction through experimental approaches to the video medium. During recess presents, each week a new video and complementary text will appear online. Curator Olivia Koh says, “As one work is phased out another appears, so that the sequenced works inform each other like a string of sentences, or a body spinning in the landscape—a collection of meanings that are not definitive but always on the move.”
The Art Gallery of South Australia has one of the largest art museum collections in Australia, comprising almost 45,000 works of art spanning 2000 years. Our collection includes paintings, sculpture, prints and drawings, photographs and videos, textiles and clothing, ceramics, glass, metalwork, jewellery and furniture. Until 2 August 2020 Adelaide Biennial of Australian Art: Monster Theatres Step back into the arena to experience the 2020 Adelaide Biennial of Australian Art: Monster Theatres and encounter the monsters of our time during our extended exhibition season. 1 August—31 August South Australian Living Artists Festival Celebrate this year’s SALA Festival with works of art by Kirsten Coelho, Margaret Dodd and Tom Moore on display from 1 August. Also see work by inaugural Guildhouse fellow Troy-Anthony Baylis from 8 August.
Bearded Dragon Gallery www.beardeddragongallery.com.au Jason Cordero, Perhaps the day will never end. 12 July—26 July Landscape Paintings Geoff Wilson and Jason Cordero
2G Gays Arcade, Off Adelaide Arcade, Adelaide SA 5000 [Map 18] 0447 962 358 Mon to Fri 9am–5pm.
Aerial Views of Kati Thanda – Lake Eyre In Flood Ross Pollock and Robert Dettman 8 August—23 August Land and Human Structures – Paintings and Photographs Robert Dettman, Ross Pollock and Angelika Tyrone. Paintings and photographs of people interacting with the land.
View online at recesspresents.art
Adelaide Central Gallery www.acsa.sa.edu.au 7 Mulberry Road, Glenside, SA 5065 [Map 18] 08 8299 7300 Mon, Tues, Thurs & Fri 9am to 5pm, Wed 9am to 6.45pm, after hours by appointment.
Art Gallery of South Australia www.agsa.sa.gov.au North Terrace, Adelaide, SA 5000 [Map 18] 08 8207 7000 Daily 10am–5pm. Free entry unless specified. See our website for latest information.
Marlene Post, The Bearded Dragon. Marlene Post paints and draws dragons because they symbolise power in her life. She loves “that they breath fire” and have the ability to fly. Her positive illustrations and love of colour is an example of the unique talents of our artists. Exhibiting quality, affordable artworks from South Australian Artists living with disability, Bearded Dragon Gallery exhibitions are changed every two months so there is always something new. The Gallery is a Social Enterprise Business of Community Bridging Services (CBS) Inc. (cbsinc.org.au) For over almost 25 years CBS Inc. have been running art classes and recreation supports for people with disability. Over that time we have recognised that, while the artwork is often outstanding, there has not been a permanent place for the public to come and access these works.
Honor Freeman, Reservoir of tears, Sandbag for a flood, 2019-2020. 9 June–24 July On Elegance While Sleeping Sundari Carmody, Honor Freeman, Sasha Grbich, Kynan Tan 214
Installation view: 2020 Adelaide Biennial of Australian Art: Monster Theatres featuring A Dickensian Country Show by Karla Dickens, Art Gallery of South Australia, Adelaide; photo: Saul Steed.
While Bearded Dragon Gallery is an avenue for the public to purchase outstanding pieces from local artists it is far greater than just a gallery. It sells hope for people who often feel overlooked and invisible in the community.
S OUTH AUSTRALIA
BMGArt www.bmgart.com.au 444 South Road, Marleston, SA 5033 [Map 18] 08 8297 2440 or 0421 311 680 Wed to Fri 12noon–5pm, Sat 2pm–5pm or by appointment. See our website for latest information. BMGART specialise in contemporary Australian art, including paintings, sculpture, ceramics, glass and prints.
GAGPROJECTS / Greenaway Art Gallery www.gagprojects.com 39 Rundle Street, Kent Town SA 5067 [Map 18] 08 8362 6354 Director: Paul Greenaway Tue to Fri 11am–6pm, Sat and Sun 12noon–4pm, closed Mon. See our website for latest information.
John Hunter, the Port Jackson Painter, and George Raper. As artists seeing a new world of flora and fauna for the first time, their works illustrate the strangeness of this encounter; in his journal, Hunter describes the creatures he sees as coming about through “a promiscuous intercourse between the different sexes of all these different animals”. For an artist working in the 21st century, the inability of the colonial artists to see the Australian landscape as it was, but rather to represent their alien surroundings using known forms and animal shapes from Europe, is both beguiling and symbolic; is our identity as Australians built on a strange hybrid history, a ‘Promiscuous Provenance’? 18 March—27 July Namatjira descendants revisiting Hahndorf – 52 years on
Hoda Afshar, Remain, still, 2018, 2-channel digital video, colour, sound. Image courtesy and © the artist, Milani Gallery & GAGPROJECTS. 1 July—24 July Hoda Afshar and Santiago Sierra Trevor McNamara, A World Beyond, 2020, oil on canvas, 100 x 100 cm. 17 July—8 August Return to Forever Paintings and works on paper Trevor McNamara Sculpture in mixed timbers Gunther Kopietz
Hahndorf Academy www.hahndorfacademy.org.au 68 Main Street, Hahndorf, SA 5155 08 8388 7250 Open daily 10am–5pm. See our website for latest information.
This exhibition of works by Western Arrarnta watercolourists associated with Ntaria (Hermannsburg) pays tribute to the enduring legacy of famed artist Albert Namatjira. For Western culture, the language of land tends to be based in commerce and resources, but for First Nations peoples around the globe, the basis of land language is emotive, connective and generational. This exhibition presented by Iltja Ntarra (Many Hands) Art Centre from Mparntwe (Alice Springs) at the Hahndorf Academy evokes a strong message of – our Family, our Country, our Legacy – as well as generational connection. Here is the heart story of land language from the Western Arrarnta people and in particular the descendants and kin of Albert Namatjira. Iltja Ntarra (Many Hands) Art Centre is the home of The Hermannsburg Watercolour Art School.
In 1857Traugott Wilhelm Boehm opened the Hahndorf Academy as a school to provide “a sound and good English and German Education.” The Hahndorf Academy continues life under ‘The Hahndorf Academy Foundation Inc.’ and is one of the largest regional art galleries in South Australia.It contains a German Migration Museum and a large retail outlet, and is one of Hahndorf’s main cultural tourist attractions. 21 March—12 July Promiscuous Provenance Anna Glynn
Gunther Kopietz, Baggage overload, various timbers, 155 cm height. 14 August—21 August Mixed exhibition of gallery artists
Promiscuous Provenance will interrogate the strangeness of the early colonial artists’ first encounters with the Australian landscape. Using a range of different media, artist Anna Glynn will populate her own antipodean world with strange hybrid manifestations to invoke curiosity and wonder. Promiscuous Provenance encourages a re-examining of our relationship with our colonial past. Glynn is drawn to the work of the early colonial artists, including
Wendy Dixon-Whiley, Fraud, drawing. 31 July—30 September SALA FESTIVAL: Full Circle 1.0 Wendy Dixon-Whiley A body of work that commenced during the artist’s 2019 arts residency in Italy, this exhibition of new drawings by Wendy Dixon-Whiley was conceived at La Macina Di San Cresci in Tuscany. Her subject matter, the writings of the famous Florentine Poet Dante Alighieri, continues to provide fertile ground for the imagination of the Adelaide Hills artist. 215
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Hugo Michell Gallery www.hugomichellgallery.com 260 Portrush Road, Beulah Park, SA 5067 [Map 18] 08 8331 8000 Tue to Fri 10am–5pm, Sat 11am–4pm. See our website for latest information.
Ed Douglas, Duologue series, photography. 31 July—30 September SALA FESTIVAL: Duologue Ed Douglas You put together two things that have not been put together before and the world is changed —Julian Barnes, author. Ed Douglas is stripping back his image constructions to investigate the relationship between just two figurative elements in a stage-like space.Our observations of humans or of objects quite often suggest a narrative—those two are so sweet and loving together, or, that sofa is definitely fighting with those curtains! The word duologue has the same meaning as the word dialogue.Each artwork involves two objects and an implied narrative or dialogue—a text or story.
JamFactory www. jamfactory.com.au
Jeremy Lepisto, The Extent, from the Container series, 2018. Photograph by Rob Little. 6 July—20 September Adelaide: FUSE Glass Prize
19 Morphett Street, Adelaide, SA 5000 [Map 18] 08 8410 0727 Open daily 10am–5pm. Re-opening 6 July 2020. Seppeltsfield Road, Seppeltsfield, SA, 5355 [Map 18] 08 8562 8149 Open daily 11am–5pm. Re-opening 6 July 2020. See our website for latest information. JamFactory is a unique not-for-profit organisation that champions the social, cultural and economic value of craft and design in daily life. Through our programs we inspire audiences, build careers, and extend contemporary craft and design into new markets.
Tara Shackell, Autumn, 2020. Photograph courtesy of the artist. 6 July—20 September Seppeltsfield: Autumnal Colours
Murray Bridge Regional Gallery www.murraybridgegallery.com.au 27 Sixth Street, Murray Bridge, SA 5253 08 8539 1420 Tue to Sat 10am–4pm, Sun 11am– 4pm. Closed Mon and pub hols See our website for latest information.
Justine Muller, Aunty Ngearie, proud Barkandji Woman, acrylic on tin. 216
S OUTH AUSTRALIA
Badger Bates, Warrego Darling Junction, Toorale, 2012, linocut print. 27 June–11 October BARKA: The Forgotten River Badger Bates and Justine Muller A beautiful, tender and gripping series of paintings, linoprints, sculpture, installation and sound, which map a timeline of the love that these artists have for the Barka (Darling River)–“our Mother and the blood in our veins”–and its people, the Barkandji. BARKA tells the story of desperate fear for the river and its ecology; and the Barkandji people’s determination to fight for the river’s health and its fundamental role in maintaining the wellbeing of their cultural, social and economic life.
Newmarch Gallery www.newmarchgallery.com.au
Jess Taylor, Action 1: Cradle of Decadence, detail, 2020, in progress digital render of 3D printed sculpture, dimensions variable. McEwan, Amber Cronin, Christina Peek, Sasha Grbich and Kelly Reynolds, Yusuf Hayat, Jasmine Crisp, Patrick Cassar.
Ali Gumillya Baker, Sovereign goddess Faye from the series Bow down to the sovereign goddess, 2011, print, archival inkjet print, coloured inks on paper, 123.5 x 82 cm. Gift of the artist. Collection of Flinders University Museum of Art.
An exhibition comprising of 11 Actions inspired by Michael Craig Martin’s collection of memoiresque essays of the same title. After gleaming insights, advice and interesting quotes from Martin’s text, these quotes were misread and applied as instructions on being an artist in the style of Hans Ulrich Obrist’s Do It exhibitions conceived in the 1990s.
by the exhibition, three emerging Aboriginal writers speak powerful words of response at nexusartsgallery.com
‘Payinthi’ City of Prospect, 128 Prospect Road, Prospect, SA 5082 08 8269 5355 facebook.com/NewmarchGallery See our website for latest information. Newmarch Gallery is the new name and location of the Prospect Gallery which has been operating for over 30 years, inspired by a trailblazing local icon, Ann Newmarch. Makeda Duong, Mixed Race Female, 2017.
Nexus Arts Gallery www.nexusartsgallery.com Cnr Morphett Street and North Terrace, Adelaide, SA 5000 [Map 18] 08 8212 4276 Tue to Fri 10am–4pm. See our website for latest information. 11 June—23 July circles to us Curated by Dominic Guerrera, featuring work from the Flinders University Museum of Art’s contemporary Aboriginal and Torres Strait Islander collection. An exploration of gender in Aboriginal communities, this exhibition reflects on reclaiming and holding spaces for the representation and diversity of Aboriginal lived experiences. Informed by stories of the past, the exhibition explores themes of learning gender roles and responsibilities, and acknowledges Aboriginal gender diversity. Furthering the dialogue invited
7 August—11 September Mixed Race Female Makeda Duong In her practice Makeda Duong attempts to unravel and represent aspects of her lived experience in relation to themes such as race, gender, sexuality, and mental health. Mixed Race Female is an exploration of her Vietnamese/Australian heritage, coupled with artworks delving into the theme of mental illness.
praxis ARTSPACE www.praxisartspace.com.au 68–72 Gibson Street, Bowden, SA 5007 [Map 18] 0872 311 974 or 0411 649 231 Wed to Sat 11am–4pm or by appointment. See our website for latest information. 30 July—21 August On Being an Artist: 11 Actions Jess Taylor, Nat Penney and Eleanor Amor, Jonathan Kim, Tom Borgas, Rebecca
Dan Withey, Is this the face of God, 2020, acrylic on canvas, 25 x 25 cm. 27 August—25 September Stay Positive Dan Withey Withey’s mantra is to stay positive, never give up, do the best you can… and TRY NOT TO BE A DICK (emphasis on try!). Together, we will delve into the twisting labyrinth of the artist’s brain, through a maze of bold colours and eccentric characters traversing a range of contemporary issues.
Riddoch Art Gallery www.riddochartgallery.org.au 1 Bay Road, Mount Gambier, SA 5290 08 8721 2563 Mon to Fri 10am–5pm, Sat to Sun 10am–3pm, open most public holidays. See our website for latest information. Until 20 September Gallery and online: Beautiful enemies Thumb Print Inc. featuring the work of 217
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Royal South Australian Society of Arts (RSASA) www.rsasarts.com.au Level 1, Institute Building, Corner North Terrace and Kintore Avenue, Adelaide, SA 5000 [Map 18] 08 8232 0450 Mon to Sat 1pm–4pm, Closed on public holidays. See our website for latest information.
Anne Miles, Carp, 2019, two plate etching. Libby Altschwager, Julie Bignell, Anne Headlam, Jean McArthur, Anne Miles, Sally O’Connor, Lilija Quill, Ruth Schubert, Trudy Tandberg, Diana Wiseman, and Stephanie Yoannidis. Setting themselves the challenge of research and making new work, Thumb Print Inc. presents their latest exhibition Beautiful Enemies, exploring our day to day competition with exotic species of flora and fauna. In a region noted for its natural features, introduced species not only threaten our native animals, but also creep into our daily lives, through our gardens, waterways and nature reserves. Using a wide variety of printmaking techniques, Beautiful Enemies features works portraying unwanted plants, animals and insects, drawing attention to the tension between beauty and danger.
Sauerbier House culture exchange www.onkaparingacity.com/sauerbierhouse 21 Wearing Street, Port Noarlunga, SA 5167 [Map 18] 08 8186 1393 Wed to Fri 10–4pm, Sat 1–4pm. See our website for latest information. Exhibitions will also be available online at www.onkaparingacity.com/ sauerbierhouse
Jake Novick, Walk, 2020, pastel on L’ Aquarella Cason Heritage paper, 300gsm, 29.7 x 42 cm. Artist in Residence Exhibitions:
Jasmine Crisp, She knew herself (a portrait of Mabel), oil on canvas. Winner 2018 Youthscape. 21 June—19 July In RSASA Gallery late July Online exhibition: RSASA YouthScape 2020 Art Prize
27 June—1 August Slow Burn Jake Novick Using landscape as a metaphor for belonging and loss, Novick’s current work explores the relationship between nature and death.
https://rsasarts.com.au/calendar $8,000 in prizes for 15–26 year olds.
Cleverman. Until 6 September Gallery (by appointment): Cleverman
Sasha Grbich, Kelly Reynolds. Documentation from rooftop performance in development. Photo courtesy of the artists.
Go behind the scenes of the groundbreaking sci-fi series Cleverman. Explore First Nations storytelling, language and creativity in production design, costumes and props. This exhibition invites you to listen first and immerse yourself in a powerful and contemporary expression of origin stories.
27 June—1 August Time traveller for hole Sasha Grbich and Kelly Reynolds Sasha Grbich and Kelly Reynolds are accumulating performative acts that employ alternative systems of knowledge to make sense of these COVID-19 times.
This project has been assisted by the Australian Government’s Visions of Australia program. Please note: due to COVID restrictions this exhibition can be viewed by appointment only. Ongoing online content Stories from the Collection Dive into the The Riddoch’s own art collection and discover the fascinating stories behind the artists and their work.
8 August—19 September [GRAFTd] exhibition Brooke Walker, Soul, oil on panel, Characters of the Fleurieu Winner 2018. 26 July—6 September Online and Signal Point Gallery, Goola: RSASA/SALA Characters of the Fleurieu Art Prize Online and gallery exhibition. $13,000 in prizes. Characteristics of the Fleurieu. Entry form online to 9 June. 26 July—23 August Online and RSASA Gallery: RSASA/SALA Member’s Winter Exhibition “It’s Cold Outside”
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Thingness of Stuff - SALA 2020 Arlon Hall and Steph Cibich (Curator) Arlon Hall unpacks what it means to return home in his artistic practice in this exhibition curated by Steph Cibich, City of Onkaparinga Contemporary Curator awardee.
Samstag Museum of Art www.unisa.edu.au/samstagmuseum
University of South Australia, 55 North Terrace, Adelaide SA 5000 [Map 18] 08 8302 0870 Tue to Sat 10am–5pm. See our website for latest information. While the Samstag museum of art remains closed until 18 August, the Adelaide//International continues online. Subscribe to the ON ART Podcast on your preferred podcast app to hear lively conversations with 2020 Adelaide// International artists Helen Grogan, David Claerbout, Brad Darkson and John Wardle; delve into a dynamic series of essays from the exhibition publication; listen to audio descriptions of a number of artworks and check in on David Calerbout’s Olympia as the march of time continues for audiences via a live stream from the gallery.
While the museum is closed until 18 August, the Adelaide//International continues. As well as new podcasts with exhibiting artists, the exhibitions extend online through these special projects: Essays on each exhibition are available for download in the Publication. Available online. An audio description of a number of artworks from the Adelaide//International exhibition are accessible via our website. Check in on David Calerbout’s Olympia as the march of time continues for audiences via a live stream to our website from the gallery. www.unisa.edu.au/Business-community/ samstag-museum/
Urban Cow Studio www.urbancow.com.au Shop 6, 10 Vaughan Place, Adelaide, SA 5000 08 8232 6126 [Map 18] Instagram @urbancowstudio Tue to Thu 11am–5pm, Fri 11am– 9pm, Sat 11am–5pm, See our website for latest information.
Online activity Introducing the ON ART Podcast – talks and discussions that follow the lead of contemporary art, from the Samstag Museum of Art. Subscribe today on your preferred podcast app or via the Samstag website to hear lively conversations with 2020 Adelaide//International artists Helen Grogan, David Claerbout, Brad Darkson and John Wardle.
Nicholas Hanisch and Alex Mullen, Breathe up the time that’s passing, 2020, oil paint, acrylic paint, pastel on canvas, 70 x 100 cm. 5 August—29 August Sea Shanties Nick Hanisch and Alex Mullen
John Wardle Architects, Somewhere Other, 2020. Photo: Sam Noonan. 18 August—18 September 2020 Adelaide//International John Wardle with Natasha Johns – Messenger / Zoe Croggon, Helen Grogan and Georgia Saxelby / David Claerbout / Brad Darkson.
from the geological, to the climatic and botanical through kiln formed, cast and hot blown glass. Using both functional and sculptural forms, Jessica and Rita create evocative imagery within glass. Their work represents nature with different emphasis.
Rita Kellaway, Mellifluous, 2019, kiln formed glass, 15 x 30 x 15 cm. Photograph by Michael Kluvanek. 1 July—1 August Vi Naturae Rita Kellaway and Jessica Murtagh Featuring emerging glass artists Rita Kellaway and Jessica Murtagh, the exhibition explores the forces of nature,
Sea Shanties explores the artists surreal interpretations of their global adventures through their somewhat foggy memories. Their careers have seen them live, study and exhibit in many corners of the globe – from NYC to Kashmir, and all through Europe. In this exhibition they are drawing their memories, collaborating on paintings and recreating their iconic and sentimental objects as ceramics. Sea Shanties is a dream-like retelling of stories that maybe actually happened. Opening Wednesday 5 August, 5.30pm–7.30pm.
Samstag Museum → David Claerbout, Olympia, Samstag Museum of Art Install. Photo: Sam Noonan. 219
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A–Z Exhibitions
JULY/AUGUST 2020
Western Australia
Elder Place, Perth Cultural Centre,
Wittenoom Street, High Street,
Finnerty Street, Aberdeen Street,
Glyde Street, Bussell Highway, Kent Street , Stirling Highway,
St Georges Terrace, Railway Road, Henry Street, Colin Street,
Captains Lane, James Street
WESTERN AUSTRALIA
Art Collective WA www.artcollectivewa.com.au 2/565 Hay Street, Cathedral Square, Perth, WA 6000 [Map 19] 08 9325 7237 Wed to Fri 11am–4pm, Sat 12–4pm, or by appointment. See our website for latest information.
27 June—25 July Stitchscape Megan Kirwan-Ward Exploring stitch as a means to manipulate cloth, to connect layers of colour and patterning and to illuminate found objects, this exhibition looks at how thread can find a way between what is gathered and what is made. Each piece is imbued with the thoughts and responses experienced through a journey from South-East Asia to northern Australia. 1 August—22 August Historical Remnants Olga Cironis, Kevin Robertson, Toni Wilkinson, Tony Windberg, Jo Darbyshire, Sine MacPherson, Mark Tweedie
Antony Muia, Acheron - River of Sorrow, 2020, ink and watercolour on paper, 122 x 82 cm. 27 June—25 July Forest of Dis Antony Muia An exploration of the relationship. This series of ink and watercolour drawings are an exploration of the artist’s meditations on the commonalities within our bodies and nature. The meticulous illustrations depict locations described in Dante’s epic poem ‘Divine Comedy’, and in Greek and Roman mythology, set within distinct Australian landscapes; the forests and waterways ranging from terrifying to awe inspiring. As such Antony Muia’s scenes probe at the duality of harmony and tension, a coexistence that underlines a shared responsibility for the future of our planet.
A group exhibition that reflects on the way we memorialise specific sites and monuments; and how they act to preserve and manipulate remembrance—enshrining landscapes, places, objects and markers into our collective memories. From the symbolism of the unique terrain of the Gallipoli escarpment in Tony Windberg’s paintings, instantly recognisable to many Australians and New Zealanders; to the depictions by Sine MacPherson of shrines along the roadside that serve to immortalise other people’s histories; to the representation of multiple layers of past events in the found objects of military fabrics, hair, medals and weaponry put to new use by Olga Cironis—the very personal act of commemorating imbues the inanimate with a life of its own, inserting them into the history.
Art Gallery of Western Australia
Until October Pulse Perspectives WA’s talented young artists are celebrated in this yearly showcase, gauging the pulse of young people who will influence, empower and shape the world we live in. Vote for your favourite work in the Act-Belong-Commit People’s Choice Award. Vote for the work that made you feel, explode with emotion, or marvel at the world. It’s your vote make it count! Until October WA Now – Tom Muller: MONOLITH SCORES Buildings are urban monoliths. Cultural institutions are perceived to be even more so. Tom Mùller’s WA Now exhibition delves into what this perceived monolith sounds like, feels like, breathes like. MONOLITH SCORES forms part of the WA Now series dedicated to showcasing work by WA artists. Until October Tom Malone Prize A highly respected national event within the Australian glass arts community which has played an integral role in the Gallery’s acquisition of works by Australia’s most inspiring, innovative and accomplished artists working in this art form. This year’s 15 shortlisted works demonstrate how our nation’s glass artists continue to invent and reinvent, to challenge themselves technically, and to find new frameworks to distil human experience in accessible and enlivening ways. The winner of the 2020 Tom Malone Prize is Mel Douglas for her work Tonal Value 2019.
www.artgallery.wa.gov.au Perth Cultural Centre, Perth, WA 6000 [Map 19] 08 9492 6600 Infoline: 08 9492 6622 Wed to Mon 10am–5pm. See our website for latest information. Please check the Gallery’s website and follow us on social media for the latest information and Collection news.
Stuart Ringholt, AUM (a) Anger Workshops (b), 2007; 2012. Video, edition of 5 poster, 5/12, video: 28 mins: 27 secs poster: 127 x 176 cm. State Art Collection, Art Gallery of Western Australia. Purchased through the TomorrowFund, Art Gallery of Western Australia Foundation, 2012. 27 March—27 July Screen Space Stuart Ringholt
Megan Kirwan-Ward, Air-bound, 2018, silk, silk organza, linen, kestrel feathers, cotton thread, 47 x 47 cm.
Charlotte Olsen, See with your hands feel with your eyes, detail, 2019, textile manipulation techniques: punch needling/machine embroidery/hand dying of fabrics/knitting/hand stitching/woodworking construction; hand saw/table saw/dropsaw/gluing/magnifying sheed; Braille document, four parts: 146 x 69 x 10cm; 135 x 64 x 4.5 cm; 125 x 62 x 5 cm; 110 x 29 x 23 cm. Geraldton Grammar School.
Ringholt creates performance-based, process-oriented and audience participation-reliant works which deal with experience of fear and embarrassment devised in amateur self-help environments. His work AUM is accompanied by posters from his Anger Workshops performances. Part introspective meditation, part catharsis, AUM focuses on the practice of Aum meditation process between a couple who are working through emotions of love and anger.
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Artitja Fine Art Gallery www.artitja.com.au South Fremantle, WA 6162 08 9336 7787 0418 900 954 See our website for latest information.
27 June—23 August Noongar Country 2020 Showcasing Indigenous artists living on Noongar Country
Lorna Dawson, Champagne Glass, 2019, acrylic on canvas, 45.5 x 35.5 cm. Courtesy of Spinifex Hill Studio. Natasha Nakamarra Oldfield, Warna Kukurrpa Snake Dreaming, 152 x 152 cm. Courtesy of the artist and Warlukurlangu Artists. In its 16th year Artitja Fine Art Gallery are specialists in Aboriginal art, working with over 25 remote community Art Centres throughout Western Australia, Northern Territory and the APY Lands, and operates by appointment. Open all year round by appointment he Gallery’s focus is in making cultural connections through art, and since its inception grown to become one of Perth’s most reputable and accessible award winning Aboriginal art galleries. Directors Anna Kanaris and Arthur Clarke invite you to make an appointment for a personalised art viewing in a welcoming home environment. Visit our website for more information and to view the extensive collection.
Bunbury Regional Art Gallery www.3brag.org.au 64 Wittenoom Street, Bunbury, WA 6230 08 9792 7323 Daily 10am–4pm. See our website for latest information.
Elizabeth Durack, Dinah, 1940, watercolour, city of Bunbury Art Collection. July Elements Form Susan Ecker The latest exhibition from WA painter Susan Ecker. This exhibition is made possible, in part, by the support of a grant from the City of Bunbury. July—August Explore the City of Bunbury’s Art Collection. The Bunbury Regional Art Gallery is proud to present its largest display of pieces from its in-house collection. Ongoing The Bunbury Regional Art Gallery (BRAG) invites you to explore our weekly online artist talks, lectures, and workshops on our website www.brag.org.au
Fremantle Arts Centre www.fac.org.au 1 Finnerty Street, Fremantle, WA 6160 [Map 20] 08 9432 9555 Daily 10am–5pm. Free admission. See our website for latest information. 15 June—26 July Revealed: New & Emerging WA Aboriginal Artists
Amanda Bell, Float Sista Float, Speak Sista Speak, Sing Sista Sing, 2019, detail, mixed media. Photo credit: South West Women’s Health Centre. 222
The Revealed Exhibition showcases over 100 of the best new and emerging Aboriginal artists from WA’s remote and regional art centres, as well as independent and Noongar artists from metropolitan Perth and the South West. The works span a breadth of styles and mediums including painting, installation, video, textiles, photography, print media, jewellery, carving and sculpture.
Tim Leura Tjapaltjarri, Aboriginal people meeting first white settlers at the Swan River, 1979, acrylic paint on canvas on board, 76.5 x 109 cm. Donated by Ken Colbung, 1988. City-of-Fremantle Art Collection. 15 June—26 July Hunter Dreaming: Tim Leura Tjapaltjarri in WA Two major paintings by Tim Leura Tjapaltjarri (1929–84), a significant Papunya Tula Anmatyer painter, are reunited for the first time in Hunter Dreaming. Both of these important uniquely WA works were produced during a visit to Perth in 1978–79, when Tim Leura was a guest of Nyoongar elder Ken Colbung (1931–2010).
Gallery Central www.gallerycentral.com.au North Metropolitan TAFE, 12 Aberdeen Street, Perth, WA 6000 [Map 19] 08 9427 1318 Mon to Fri , 10am–4.45pm, Sat 12noon–2.30pm. See our website for latest information. 4 July—24 July Picture This Tami Xiang Perth based Chinese-Australian artist and photography graduate of NMTAFE, Xiang shows conceptual documentary works that address political and social issues. Peasantography looks at conditions
represented in the exhibition include Patrick Mung Mung, Mabel Juli, Rusty Peters, Shirley Purdie, Phyllis Thomas, Peggy Patrick, Churchill Cann, Beryline Mung, Tommy Carroll and Gordon Barney.
Tami Xiang, Nüwa Reawakening, digital print.
Helen Smith, Blue Highway #30, 2017-19. Courtesy of the artist .
for Chinese families in the countryside. 61 million ‘Left Behind Children’ are raised by their grandparents or great grandparents while their own parents work in cities far away. Most of these children only see their parents once a year at most. Thunderstorm is a response to the COVID-19 silencing of voices in China.
Deborah Wurrkidj, Wak, 2020, three panels, hand printed textile, 200 x 130 cm. 24 July—26 August Kun-madj: Fish Traps and Dilly Bags Babbarra Womens Centre and Maningrida Arts
Holly Story, Red Canopy, 2012, courtesy of the artist. 1 June—20 September Holmes à Court @ Vasse Felix:
Natalie Ferguson, The Hypocrisy of the bronzed Aussie, oil on canvas, lumen college, from META 19. 3 August—22 August META Art, design, photography from the next generation—an insight into the hearts and minds, dreams and fears of talented year 11 and 12 students from WA schools. 29 August—19 September Sum Of Parts As we celebrate 100 years of TAFE art and design training in WA, we present work by impressive graduates of yesteryear— sculpture and assemblage by Miik Green, Marzena Topka, Matt McVeigh and Kathy Allam, geometric jewellery by Alister Yiap and Bethamy Linton, drawings by Cherish Marrington plus more art-bits that demonstrate that the whole is by far greater than the sum of the parts.
FIBRE Lindsay Mpetyane Bird, Tingapa Davies, Mark Dustin, Olga Cironis, Marjorie Coleman, Sujora Conrad, Carmela Corvaia, Angela Ferolla, Jean Hoijo, Emily Kame Kngwarreye, Holly Story, Lesley Parker, John Parkes, Susan Roux, Nalda Searles, Helen Seiver, Curtis Taylor, Debra West.
Japingka Gallery www.japingkaaboriginalart.com 47 High Street, Fremantle ,WA 6160 08 9335 8265 Open daily. See our website for latest information.
www.jcg.curtin.edu.au Kent Street, Bentley WA 6102 [Map 19] 08 9266 4155 See our website for latest information. 29 July—16 October 50fifty:2020
John Curtin Gallery Director, Chris Malcolm and Collection Manager, Lia McKnight have co-curated 50fifty:2020 to showcase a selection of 50 of the over 100 artworks that were acquired through the initiative, helping to rejuvenate the Curtin University Art Collection—one of WA’s most important public art collections.
www.holmesacourtgallery.com.au At Vasse Felix: Corner Tom Cullity Drive and Caves Road, Cowaramup, WA 6284
3 July—29 August Holmes à Court @ No.10: Concrete E X P A N D E D Consuelo Cavaniglia, Jennifer Cochrane, Janenne Eaton, Robert Hunter, Brian McKay, Trevor Richards, Douglas Sheerer, Helen Smith, Trevor Vickers, Joshua Webb.
John Curtin Gallery Curtin University
The John Curtin Gallery will reopen at the end of July with new safety protocols and an exhibition of 50 significant and recently acquired art works, which celebrate the success of its three-year acquisition initiative.
Holmes à Court Gallery
At No. 10, Douglas Street, West Perth, WA 6005 See our website for latest information.
Presenting textiles and woven objects from Maningrida, presented by Babbarra Women’s Centre. Artists have curated an exhibition on the theme of Kun-madj or woven vessels. This is the Kuninjku word used for dilly bags and fish traps. The exhibition theme showcases ancient and contemporary knowledge, and reflects the craft associated with the dilly bag which is both a sacred ceremonial symbol and a utilitarian object. The women artists produce many various screen print designs depicting fish traps and dilly bags in different styles and formats.
Patrick Mung Mung, Ngarrgooroon Country, 2020, ochre pigments on canvas, 120 x 120 cm. 24 July—26 August The Ochre Story Warmun Artists Japingka Gallery presents a survey exhibition from Warmun Art Centre of major ochre paintings from its senior artists produced over the past 8 years. Artists
The works on display will include painting, photographs, mixed media, sculpture, ceramics, video and works on paper by artists working in diverse and exciting contemporary practices. The Gallery will implement new health and safety measures in line with government guidelines to ensure visitors relax and enjoy the in-gallery experience after the COVID-19 restrictions. It will also present the exhibition alongside a digital 223
ar t g ui d e .c o m . au John Curtin Gallery continued... program which features online platforms and virtual visits before progressing to an in-gallery program of artist talks and workshops as restrictions ease further.
Lawrence Wilson Art Gallery & Berndt Museum www.lwgallery.uwa.edu.au The University of Western Australia 35 Stirling Highway (corner Fairway), Crawley, Perth, WA 6009 [Map 19] 08 6488 3707 See our website for latest information 11 July—11 July Digital exhibition: Expressions of India: From the Ronald M. and Catherine H. Berndt Collection
Linton & Kay Galleries www.lintonandkay.com.au Subiaco Gallery: 299 Railway Road (corner Nicholson Road), Subiaco, WA 6008 [Map 16] 08 9388 3300 Fri to Sun and public holidays 11am–5pm or by appointment. See our website for latest information. Linton & Kay Galleries, under the Directorship of Linton Partington and Gary Kay, represents a stable of quality artists including exciting early-, midand late-career artists from Western Australia and the Eastern States. The Galleries specialise in contemporary two-dimensional and three-dimensional artworks, including Aboriginal Art.
Drew Pettifer, Untitled (Journal #4), 2019, chromogenic print, 30 x 45 cm. Courtesy of the artist. 29 August—5 December A Sorrowful Act Drew Pettifer
Miik Green, Xylem Series Avium #25, 2020, mixed media on aluminium, 185 x 185 cm. 27 June—22 July Fracture Miik Green
Nathan Beard, Floral Arrangement 1, 2019, archival inkjet print on Canson Baryta, aluminium, plaster, spray paint, acrylic nails and nail polish, 30 x 45 cm. Courtesy of the artist. 29 August—5 December HERE&NOW20: Perfectly Queer 29 August—5 December Unladylike Acts: Recent Acquisitions from the Cruthers Collection of Women’s Art 224
Fracture showcases Miik’s signature large-scale paintings, along with new wall-based sculptural works. The surfaces of these works are highly treated, ranging from high-gloss coatings to matte-finished gradients. While in temporary lockdown, Miik has experimented with new materials, finishes and processes to create works that react with their surroundings. His two-dimensional works reflect and augment space; their luscious surfaces provide windows that capture that which sits outside the frame. In contrast, three-dimensional sculptures retreat and emerge from the walls, forms that have been reduced to elements of light, colour and line. These works are about engagement, timely in a time of isolation and reflection. Revealing obscure angles and worlds of possibility, they provide the viewer unique glimpses of the spaces we inhabit: portals to hidden dimensions. 25 July—13 August Aviary: Take Your Time Brendon Darby “Recent research suggests, that the average time a person spends looking at each painting when visiting a gallery, is four seconds. Most people visiting the Australian bush, hoping to see some of
Brendon Darby, Red Tailed Black Cockatoos, detail, 2020, acrylic and oil on canvas, 110 x 170 cm. our beautiful and unique birdlife, see very few, because they don’t stop, ‘take their time’ and wait quietly for the birds to appear. I hope anyone visiting this exhibition will take time to find the birds hidden in these South West landscapes. I suggest it will take longer than four seconds.” Brendon Darby.
Yvonne Zago, A Sentinel for Protection, 2020, mixed media on canvas, 168 x 199 cm. 15 August—3 September Fever Dreams Yvonne Zago “My paintings are never just about the figure, the landscape or the characters and animals within the painting plane; they’re about how all of those elements interact and co-exist together. A painting cannot exist without a viewer and in the space between the painting and viewer is a constant flow of unseen communication. Each person brings their own threads of narrative to the work, and I like to imagine each thread spinning webs around the painting forming a huge cocoon of invisible stories. Last year during a bout of ‘flu I began automatic drawing. These sketches formed the basis for this exhibition, Fever Dreams.” Yvonne Zago 2020
Midland Junction Arts Centre www.midlandjunctionartscentre.com.au 276 Great Eastern Highway, Midland, WA 6056 08 9250 8062 Wed to Fri 10am–5pm, Sat 11am–3pm. . 4 July—22 August Extra Curricular Adam Derums, Claire Eden, John Eden, Franci Liebenberg, Vivienne O’Neill
WESTERN AUSTRALIA A survey of contemporary printmaking techniques and genres from the members of the Printmakers Association of WA. Opening 31 July, 6pm.
Ellie Biggs, Wildfire singed, 2019, acrylic on canvas, 90 x 90 cm.
Adam Derums, A Night of Sighs, A Morning of Fresh Tears, 2018, oil on canvas, 230 x 168 cm. Celebrating the work of visual arts teachers from Perth’s eastern region; the exhibition sheds light on the creative impulses that drive these educators. Teachers who maintain active independent practices present a selection of their work to spark a discussion about the role of creative skills in schools and our community.
Moores Building www.fac.org.au/about/moores-building 46 Henry Street, Fremantle, WA 6160 [Map 20] 08 9432 9898 Daily 10am–4pm. See our website for latest information.
21 August—30 August Escape Ellie Biggs An exhibition of landscape paintings by emerging artist Ellie Briggs who provides a variety of nature scenes from across the state. Opening 21 August, 6pm.
Mundaring Arts Centre
9 July—26 July Blue Skies and Broken Hearts Frans Bisschops A new painting exhibition by Frans Bisschops is a striking and surreal view of a modern summer in Australia, complete with blue skies, suntans, sharks and surfers. Opening 10 July, 6pm. 31 July—16 August PAWA Body of Works
This retrospective exhibition documents the 50-plus year multi-disciplinary practice of one of WA’s foremost artists and sculptors and his long-term engagement with the University of Western Australia Anatomy Department. Drawing on his passion for the machinations and form of the human body as well as social justice issues.
Perth Institute of Contemporary Arts (PICA) www.pica.org.au Perth Cultural Centre, 51 James Street, Northbridge, WA 6000 [Map 19] 08 9228 6300 Tue to Sun 10am–5pm. See our website for latest information.
www.mundaringartscentre.com.au 7190 Great Eastern Highway, Mundaring, WA 6073 08 9295 3991 Tue to Fri 10am–5pm, Sat and Sun 11am–3pm. See our website for latest information. Jody Rallah, 250 Years (The Coolamon Project), 2019. Photo by Andrew Willis. 10 July—18 October Hatched: National Graduate Show 2020
Alastair Taylor, Eight percent, 2020, acrylic on canvas, 76 x 91 cm Frans Bisschops, The Sunbathers, 2020, oil on canvas, 90 x 70 cm.
Until 12 July Homo Eclectic Hans Arkeveld
25 July—13 September Sheep Show Emma Buswell, Eric C, Doreen Harris, Den Scheer, Alastair Taylor and Katrina Virgona. Examining cultural traditions connected to sheep farming and wool production, the exhibition celebrates, abstracts, and unpacks this significant and multi-faceted activity. Working across various media, artists comment on facets of the industry ranging from agricultural processes and community gatherings to fashion iconography.
Featuring the work of 24 recent visual arts graduates from every State and Territory with an exciting and diverse range of practices rigorously selected. The exhibition tells the story of the nation’s emerging arts practices while acting as an important platform for artistic careers. Informed by the artists’ lived experiences, many of the works share ideas around social constructs, individual identity and cultural heritage. Issues of racism, displacement and the concept of the cohesiveness of a multi-ethnic identity are examined. The role of fashion in shaping self-perception, how sound can affect our sense of place and how grand personal narratives can come unstuck are some of the concepts explored. Presenting the work of Ohni Blu (NSW), L.A.K.R.M. Bruce (NSW), Ella Callander (QLD), Olivia Davies (VIC), Saleheh Gholami (WA), Rory Gillen (ACT), Alexandra Hobba (VIC), Emma Rani Hodges (ACT), Annie Huang (WA), Emma Hutton (QLD), Alexandra Jonscher (NSW), Nina Juniper (WA), Daniel Kristjansson (WA), Luci Lee (NT), Patrick McDavitt (NSW), Brooke Mitchell (SA), Philip Sulidae (TAS), Jody Rallah (QLD), Siahne Rogers (WA), Rachel AV Sherwood (NSW), Tina Stefanou (VIC), Truc Truong (SA), Michelle Vine (QLD), Keemon Williams (QLD). 225
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STALA CONTEMPORARY www.stalacontemporary.com.au 12 Cleaver Street, West Perth, WA 6005 [Map 19] 0417 184 638 Wed to Sat, 10am–4pm during exhibitions and by appointment. Free admission. See our website for latest information.
The Covid-19 forced lockdown and subsequent period of isolation has highlighted the importance of the arts and their central contribution to our wellbeing in times of confinement. This group exhibition by a diverse range of artists who exhibit at STALA CONTEMPORARY speaks to their experiences, both positive and negative during this surreal and prolonged period of isolation; as artists who were firstly forced to abruptly refrain from their previous ways of life, giving rise to a period of reflection, from which they are now in the process of resetting their artistic practices.
tation. A gestural and expressive rawness permeates both her varied abstract motifs and the deliberately minimalised depictions of the figurative forms which sit companionably alongside them. A graduate of the Sydney College of the Arts and Deakin University, Kay has held numerous solo exhibitions in NSW. This is her fourth solo in WA where she now resides in Perth.
ZigZag Gallery www.zzcc.com.au 50 Railway Road, Kalamunda, WA 6076 08 9257 9998 See our website for latest information. The Zig Zag Gallery seeks to provide a diverse range of cultural activities in a boutique-style gallery environment. The purpose of the space is to encourage, stimulate and promote local and regional cultural activities through an active and diverse exhibition programme.
Kay Wood, (L) Still Life (56), 2020, acrylic on canvas, 25 x 20 cm. (R) Expectation (37), 2020, acrylic on canvas, 50 x 40 cm. Tori Benz, Still (study no. 1), 2020, graphite on watercolour paper, 42 x 29.7 cm. 8 July—7 August Refrain. Reflect. Reset (Art in the Time of Corona)
19 August—9 September Expectation and Other Ironies Kay Wood A solo exhibition of new paintings by Kay Wood, continuing her dichotomous exploration of abstraction and represen-
We welcome proposals from emerging and professional artists who are interested in exhibiting in our gallery in 2021. In addition to exhibitions generated through the application process, the Zig Zag Gallery actively develops exhibitions and partnership projects to enable broader engagement with communities in the region.
lesterprize.com
Call for entries now open. MAIN AWARDS | Entries open 11 Apr — 10 Jul 2020 YOUTH AWARDS | Entries open 11 Apr — 24 Jul 2020 EXHIBITION & EVENT SEASON | 31 Oct — 29 Nov 2020 Elizabeth Barden Mermaids make waves (detail) 2019. Oil on linen, 41 x 46 cm.
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A–Z Exhibitions
JULY/AUGUST 2020
Northern Territory
Lapinta Drive, McMinn Street,
Casuarina Campus, Melville Island, Darwin Convention Centre,
Mitchell Street, Cavanagh Street, Garden Point, Conacher Street,
Vimy Lane, George Crescent
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Museum and Art Gallery of the Northern Territory www.magnt.net.au 19 Conacher Street, The Gardens, Darwin, NT 0820 08 8999 8264 See our website for latest information. 14 March—12 July EX!T ART: 2019 Year 12 Student Exhibition EX!T ART is a celebration of the talents and creativity of the next generation of artists and designers, presenting the very best contemporary art and design from Northern Territory Year 12 students. roudly supported by the Museum and P Art Gallery Northern Territory in partnership with the Northern Territory Depart
Smoking Pipes: a history in collecting ment of Education, EX!T ART reflects the diversity of NT artistic practice and practitioners, expressing universal themes of identity, place and environment. 23 May—25 October the moment eternal: Nyapanyapa Yunupiŋu For over two decades Nyapanyapa Yunupiŋu has worked from the remote community of Yirrkala in the Northern Territory, creating significant paintings, drawings, sculptures and screen-based works. T his exhibition charts the evolution of her practice, which challenges the conventions of Yolŋu art making and has established her as an important Australian artist. The exhibition features a large scale multimedia work that has been specially commissioned for this exhibition, as well as an accompanying catalogue. Until 13 October
The stories about how museums collect objects are just as interesting as the objects themselves. Smoking Pipes: a history in collecting showcases the diverse range of pipes that have been acquired from over fifty years.
NCCA – Northern Centre for Contemporary Art www.nccart.com.au Vimy Lane, Parap Shopping Village, Parap, NT 0820 08 8981 5368 Wed to Fri 10am–4pm, Sat 9am–2pm, closed public hols. See our website for latest information.
Luka Vlahovic, Valentina Floeck. 3 July–27 July Portrait of a Teenage Territorian Portraits by teenagers of teenagers, this exhibition brings the world of selfies into a gallery setting, celebrating this ubiquitous and too-often dismissed form of contemporary photography. Started in 2019 as a playful companion to the NT’s Portrait of a Senior Territorian photography award, Portrait of a Teenage Territorian was one of NCCA’s best-attended exhibitions last year. NCCA is proud to present new portraits again in 2020, by teenagers from across the Northern Territory.
RAFT artspace www.raftartspace.com.au 8 Hele Crescent, Alice Springs, NT 0870 0428 410 811 Open during exhibitions See our website for latest information. 228
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“Then like a whirlywind, a kupi-kupi, everything changed in the blink of an eye.” – ROBERT FIELDING, ARTIST, P. 50
“We can’t control our external circumstances, but we can control how we respond.” – HIROMI TANGO, ARTIST, P. 70
“Almost no planes, fewer cars, a lower ambient noise floor—all these things reveal a greater horizon of experience.” – LAWRENCE ENGLISH, ARTIST, P. 88
“And it was not only about being an artist, but being a human being.” — Nell
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